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- A.R.T. 2016/17 Season
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- A.R.T. Institute
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OBERON is the second stage of the A.R.T., a destination for theater
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In the News
When this theater season in Boston and Cambridge draws to a close, I am confident that the current World Premiere of Eve Ensler's "In The Body Of The World," being presented by the A.R.T. at the Loeb, will continue to be talked about as one of the most impactful works of art. It is simply stunning in every aspect.
Ensler's performance is engaging and without a shred of artifice as she obliterates the fourth wall and addresses the audience in an intimate, conversational style.
Playwright/actress Eve Ensler relates how she lost her personal connection to her body early in life, and tried to get it back – through anorexia, promiscuity and (this gets a laugh) performance art.
There is a horrible irony here that the woman who got people talking about their bodies had hers ravaged…From the first line of this piece to the sumptuous last image we had in this show, I was completely rapt.
It doesn’t get much more “american” than Teddy and Elvis such macho caricatures in real life, that the actresses who embody them onstage barely have to exaggerate.
Ensler as a solo performer holds us fast with her huge spirit and energy. She is funny and heartbreaking, a drama queen and a dynamo, and just so completely present and full of LIFE. Every word is the real deal and we feel it.
Eve Ensler navigates her confrontation with cancer with the same unblinking intensity and humor she brought to other “taboo” topics.
WBUR/The ARTery: From Cancer To The Congo — Eve Ensler Presents Her World In A Premiere At The A.R.T. (May 19, 2016)
Ensler, best known for “The Vagina Monologues,” is an internationally known activist and theater artist and, for some, a feminist heroine. The pairing of artistic director Diane Paulus (who helms this production) and Ensler is a dream team of much-admired female voices in contemporary theater.
But this work by Brooklyn-based ensemble The TEAM is much more than just an absurd examination of what a hypothetical conversation between two of the 20th century’s larger-than-life figures might sound like, it’s a surprisingly emotional work, thanks to the reality-based secondary plot.
Right from the top, it's evident that RoosevElvis is not your ordinary take on history or gender, nor does it have an orderly chronological plot. Teddy Roosevelt and Elvis Presley come onstage first, brought to life by Kristen Sieh and Libby King who soon morph into Brenda, a recent divorcée, and Ann, a closeted gay woman. The pair meet through a singles add and take off together for a weekend on the road, à la Thelma and Louise, but with an identity twist.