Theatre - Pumpgirl
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In this gripping play from one of Ireland’s brightest new talents, playwright Abbie Spallen shapes a startling tale of three lives colliding in rural Ireland. The play unfolds with the story of a homely, tomboyish pump girl at a rundown gas station. When a local racetrack star becomes the focus of her obsession, the affair threatens more than the feelings of his disenchanted wife. A blazing success last season in Edinburgh and at London’s renowned Bush Theatre, the play is in the best tradition of richly detailed and unforgettable Irish storytelling.
Show Information
| Director: | Carolyn Cantor |
| Based On: | - |
| Dates and Locations: | Off-Broadway production at City Center Stage II closed on January 13, 2008 |
Cast
| Hannah Cabell | |
| Geraldine Hughes | |
| Paul Sparks | |
Creative Team
| Written By | Abbie Spallen |
| Set Design | David Korins |
| Costume Design | Mimi O'Donnell |
| Lighting Design | David Weiner |
| Music | Robert Kaplowitz |
| Sound Design | Robert Kaplowitz |
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I took my sister to see this play and we too left after the first act.
I agree entirely with the previous comment. The accents were so thick
I could hardly make out what was being said. Not to mention the
stage and setting were as boring as the structure of the play itself
Well, I hope this will be a lesson learned for them all.
page: 1
Graham S. Jones, IIDec 12th, 2007 - 13:12:06
We love the the Manhattan Theatre Club, but we left after the first act, which is something we very rarely do.
First, to us, a series of three people performing a series of disconnected, but interwove monologues is not satisfactory. It does not seem to be a play but only a series of interwoven articles. In that first act, the actors sat on a three chairs on a bare platform and never even interacted, even though they may have circled others as they delivered a monologue.
Second, the Irish accents were so thick that they were very difficult to decode for this New York listener to many people of foreign origin in my work as their patent attorney. In a play, it seems to me that the dialect chosen should be easily understood by the older NY audience. In Ireland, perhaps, such authenticity if it was, would be acceptable.
Third, I did not want to be exposed to more of the depressing tawdry lives of this Peyton Place type of scenario.
The very well written text and well defined and believable characters did not overcome our disappointment and detachment from the 'play' after the first act.
Graham
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