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Whatever you do, don’t call Rachel Dickstein’s work ‘physical theatre.’
I often find myself saying that American theater in general, and playwriting in particular, are enjoying something of a creative renaissance at the moment.
What does it do to a play when you move it from the place and time for (and from) which it was conceived?
God’s Ear is both formally inventive and also psychologically grounded, a narrative arc that unfolds organically and with stunning emotional impact.