In the News

Grappling with a series of moral issues – between races, between spouses, between friends -- during the Civil War, "Father Comes Home" is gripping and tense, throwing an ugly past up in our 21st-century faces.
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Even after three hours of watching on Wednesday, I was ready to see more. That’s the mark of a good story.
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"We have to reframe this. We can’t allow people who have told the story incorrectly or have left out important details [to] win the day. Sometimes, we have to go back in and say … ‘This is a little more complex.’”
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As a musician and an ardent lover of jazz, Suzan-Lori Parks approaches playwriting as if she’s composing a piece of music. In writing “Father Comes Home From the Wars (Parts 1, 2 & 3),” her historical trilogy set during the Civil War, she was channeling something deep inside her, “following that voice and not asking too many questions.”
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Pulitzer winner Suzan-Lori Parks' new play, Father Comes Home From The Wars (Parts 1, 2 & 3), opens Friday at the American Repertory Theater's Loeb Drama Center in Cambridge.
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Ms. Love, looking trim and intense, her long blond hair caught in a tangled ponytail, portrays the onetime love of a dream-bound musician in Mr. Almond's dramatically blurry but musically inviting work...
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Love described the main characters to Billboard as "a boy and a girl that are the coolest in town." As the too-cool-for-Kansas girl who loves her choir boy but needs something larger from life, Love is perfect: at turns playful, distant, resolute and lost. And for a play with no real dialogue, the relationship between Almond and Love feels genuinely sensual -- even when they're not making out sans shirts (Love keeps her bra on, of course), they move as if magnetically bonded to each other.
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But she's certainly a compelling, ethereal presence, at one point whipping off her shirt to reveal a black bra and later clad in a gorgeous black gown designed by Zac Posen. Effortlessly conveying both a youthful, ingénue-like quality and a harder edge that suggests her character's dissipation, she's good enough to make one wish she had given more attention to her acting career, which included a Golden Globe-nominated screen turn in The People vs. Larry Flynt.
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The music is lean, balancing pop's go-for-the-throat emoting with showier stage exposition, guitar-driven soft-rock passages and laptop electronica that sounds like Trent Reznor if he was weaned on Sondheim.
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H.M.S. Pinafore by Hypocrites: Sean Graney takes his audiences along for another delightful voyage
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