Reasons to Be Pretty

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For the first time in LaBute's dramas of dismay, a character discovers within himself the milk of human kindness: it is a discovery that makes each full-frontal hostility, skewering accusation and subtle infidelity far more upsetting. Reasons to Be Pretty is part of a looksist trilogy that includes The Shape of Things and Fat Pig. But it is also a fine study of what it is to let people down. It reveals what an acute ear LaBute has: his dialogue is hyper-real; filigree fierce. Lexi is a creative producer and performer in Australia. She created and ran Lakespeare & Co for over 3 years and is now permanently in Canberra producing 'not-Netflix' experiences at the Mill Theatre at Dairy Road. The plan for the set is a kind of ‘industrial minimalism’, with concrete walls, raw materials, and brutalist style furniture,” Tim explains. “The intimacy of the space will allow the audience to be seated up close to the play’s colourful characters, permitting an immersion into their lives as we follow their journey.

Reasons To Be Pretty is a true-to-script presentation of Neil LaBute’s first Broadway play. Producer, actor, and Mill Theatre overseer, Lexi Sekuless, wants the production to reflect Canberra’s performing arts environment, whilst showing off what the newly created space can house. LaBute’s gift for comically nasty dialogue — especially relating to the battle between the sexes — is very much on display here, never more so than in the hilariously painful scene in which the wounded Steph turns the tables on her ex by launching into a brutally detailed description of his many physical flaws during a meeting at a shopping mall food court. Like his main character reads HAWTHORNE and SWIFT for fun?! And then has the audacity to say “Women, huh? That about sums it all up…” That prop will be central to the mechanics of the stage,” he says, pointing to an orange brutalist style chair. It’s a gift from a nearby Dairy Road business. Lexi is keen to expand:The performing arts industry took a hit during the height of the pandemic,” Lexi says. “It created a collective low resilience amongst performers and made it difficult to commit to a performance even post-Covid.” Bob Crowley's design makes a palace out of dereliction, a place in which the walls give distress a good name. Plaster curls decoratively down long walls; opal windows seem to let in a grey-green light; the effect is not so much tenement as verdigris ballroom. In the early scenes the echoing elegance of the space drains away the desperation which encircles the play and makes sense of its plunges from despondency to hilarity. Space also causes gigantism in the actors. Some of that settles down. The first Canadian production was presented in Montreal, at Théâtre La Licorne, from November 19 to December 14, 2012 with Quebec French translation by David Laurin and direction by Frédéric Blanchette. The cast of l'obsession de la beauté included Anne-Élisabeth Bossé, Maude Giguère, David Laurin and Mathieu Quesnel. [6]

It is 1183 and the Aquitaines are gathering for Christmas: "Shall we hang ourselves or the holly?" Henry, a robust, roistering and commanding Robert Lindsay, has invited his wife Eleanor to come out of prison (where he put her, for trying to bump him off) for the occasion. Lumley, milking every reference to wrinkles and vanity, pawing the air as if it were her pet, turns herself into Queen Patsy. The Mill Theatre is in Building 3.3, the Screencraft and KeepCo building which is a short walk from Capital Brewing. There are two easy ways to approach the Theatre: Reading this after watching the Johnny Depp/Amber Heard trial really makes you think differently about it. Like damn bitch why you gotta be throwing pans at someone’s head that’s straight up not okay. Not that i thought it was okay the first time I read it but it’s just so clearly abuse I’m trying to figure out what the playwright was doing with her. Far from being strictly American in content, the play allows the audience to access and connect with another side of Australian life, that of living in a country town or an outlying suburb. Director Terry Kinney, repeating his chores from the play’s previous off-Broadway production, has again elicited superb performances from his ensemble. And the playwright has done some welcoming tightening of the running time, with the biggest improvement being the deletion of the extraneous monologues in which the characters unnecessarily explained their motivations.

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God this is SUUUCH a male apologist thesis, idc if it’s being ironic about it it just is. Men always do this, layer their true feelings, especially about women being psychotic, under layers of “irony”, “absurdity”, and “jokes” just say you hate women……… Pablo Schreiber nails the bravado coverup of the bullying Kent so that you want him to get his comeuppance even as you wish he could gain some insight before he becomes forever trapped inside this stereotype of the macho male. Sadoski's Greg is wonderfully likeable but also has you wanting to nudge him to get his nose out of the book long enough to not just use his literary bent as an escape, but to do something with his intelligence. Director Terry Kinney keeps the confrontations tense, volatile and mostly unpredictable — whether it’s the awkwardness of long-term male friends with nothing in common beyond their history or the timid mutual explorations of former lovers, negotiating unhealed wounds while gently testing the depths of residual affections. The bristling scenes between Steph and Greg are especially strong, from their first raw screaming match to her bilious public humiliation of him by reading a list of his physical flaws; from their distant but rueful unplanned meeting to Steph’s final, painfully shy attempt to ascertain if there’s any way to salvage their relationship. Mill Theatre at Dairy Road ensure ideas through art and artistry through practice grow in their production of Reasons to be Pretty

everything they've got into their physical being, and a main part of that — the main part — is the face. ( Beat.) I go nuts if I still break out on my chin orWe brought in an accent coach to ensure the cast has the same US style twang,” Lexi says, “We want to be representative of the characters’ small town origins.”