Wallace Shawn
Three hours of thy ****** mastubatory,
Fantasies with women and cats,
Too much for a working man.
Can we not freeze you in time,
Please be a Sicilian boss named Vizzini,
Obstacle to the savior of
The Princess Bride.
I know that you know that i know that you know
That 1987 was a crash year, but your raspy
Glare, minutiae of a face expressive made it easier.
At the Public, not in the private,
Tales of ****** escapism make me
Drift to sleep, and I know
That you know that I know that you know
I am asleep in in row B center,
And see you weep.
But the play must go on...
Which is why I will rent a memory
Tonite, you, Vizzini, and me,
Will drink a cup of poison wine,
In celebration of the trajectory of our
Mastubatory writings.
Oct 26, 2013
Oct 26, 2013 at 8:06 AM UTC
Wallace Shawn
Three hours of thy ****** mastubatory,
Fantasies with women and cats,
Too much for a working man.
Can we not freeze you in time,
Please be a Sicilian boss named Vizzini,
Obstacle to the savior of
The Princess Bride.
I know that you know that i know that you know
That 1987 was a crash year, but your raspy
Glare, minutiae of a face expressive made it easier.
At the Public, not in the private,
Tales of ****** escapism make me
Drift to sleep, and I know
That you know that I know that you know
I am asleep in in row B center,
And see you weep.
But the play must go on...
Which is why I will rent a memory
Tonite, you, Vizzini, and me,
Will drink a cup of poison wine,
In celebration of the trajectory of our
Mastubatory writings.
http://tickets.publictheater.org/production/?prod=21505
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October 20th, 2013 1:14 pm
Rating:
Exquisitely staged and acted, but be prepared
This play is apocalyptic, surreal and, in its descriptions of *** acts and body parts, highly ****** even without any onstage grappling or ****** so make sure you're at least relatively all right with that before you go. (Whatever you do, don't bring your fifteen-year-old daughter who liked Shawn in The Princess Bride, as the people behind me did!) The acting is delicious--I'd single out the raspy-voiced, decolletage-flaunting Meg Tilly, but really, everyone was equally good, and Andre Gregory's staging was wonderfully inventive; a big white sofa and plain wooden walls turn out to be very versatile. The play itself is simply longer than it needs to be--3 full hours, with a couple of short breaks; it would be more effective if cut. But Wallace Shawn's dialogue is almost always engaging in its strangeness and dark humor--there's no one else like him, so it's worth cutting him some slack.
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