Palace of the End, Judith Thompson's most recent play, is not only her most political work, it is also her best. As most auditioning actors in this country have discovered, Thompson's greatest strength has always been her monologues, and in this piece, she uses that strength to its full advantage. In fact, she dispenses with character interaction altogether and breaks her show into three long monologues, each spoken by someone who has been greatly affected by the political situation in Iraq from Saddam's rise to power to the present. Interestingly, while Thompson has created the text for the show, she has not created fictional characters. Though they are not credited as such in the program, the following becomes clear: Maev Beaty's "American Soldier" is none other than Abu Ghraib's favourite dishonourable dischargee, Private Lynndie England; Julian Richings' "British Microbiologist and Weapons Inspector" is WMD whistle-blower and Thom Yorke muse David Kelly; Arsinée Khanjian's "Iraqi Mother" is the less notorious Nehrjas al-Saffarh, a woman who was tortured along with her children during Saddam's reign and died in the first Gulf War.
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Continue reading "Judith Thompson Bridges the Gulf"
Guantanamo Bay, Abu Ghraib, extraordinary renditions, security certificates, Maher Arar, enemy combatants, torture, all of them erosions of democracy and symptoms of a larger problem. Government abuse of power isn't anything new, and as the sole holder of power and force in most societies, our elected "representatives" can often do so with impunity.
Continue reading "Suspicious Minds"
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Newsstand: November 23, 2009