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By Sarah Ruhl
Named one of many "Ten top performs of 2008" by means of The New Yorker
“Sarah Ruhl’s daring, creative, and ironic triptych [is] a meditation on devotion and its appropriation through the kingdom. . . . Ruhl is an unique; a storyteller with an excellent brain evolving her personal theatrical idiom.”—John Lahr, The New Yorker
“It’s a distinct type of morality play . . . a frequently wondrous paintings . . . with [Ruhl’s] personal specified lyrical combination of poetry, humor and grace.”—Frank Rizzo, Variety
Passion Play is Sarah Ruhl’s “biggest, so much formidable attempt but” (The manhattan Times), a three-and-a-half hour intimate epic, plunging the depths of the well timed intersection of politics and faith. Ruhl dramatizes a neighborhood of gamers rehearsing their annual staging of the Easter ardour in 3 various eras: 1575 northern England, ahead of Queen Elizabeth outlaws the ritual; 1934 Oberammergua, Bavaria, as Hitler is emerging to strength; and Spearfish, South Dakota, from the time of Vietnam via Reagan’s presidency. In every one interval, the avid gamers grapple in numerous methods with the transformative nature of paintings, and politics are by no means a ways within the historical past, as Queen Elizabeth, Hitler, and Reagan each one look, performed by way of a unmarried commanding actor.
Sarah Ruhl’s performs contain Dead Man’s cellphone Phone, Eurydice, and The fresh House, which was once nominated for the Pulitzer Prize. Her paintings has been generally produced either through the nation and across the world, and she or he is the recipient of the MacArthur “Genius” Fellowship.
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Additional resources for Passion Play (TCG Edition)
John I comprehend, Mary, when you don’t fancy me. I’m undeserving of you . . . you've got God on your stomach. mary 1 It’s no longer that . . . It’s simply that . . . I’m God’s bride now. john I see . . . It’s larger that approach. It’s—a miracle. 60 SCENE 19: THE SCOURGING—A practice session Mary 2, chippie 1, wood worker 2, the Machinist and Pontius. chippie 2 I see the place her eye wanders . . . She’s an exquisite little factor, too lovely if you happen to inquire from me. wood worker 1 St-stop. G-god wouldn’t such as you to talk that approach of Ma-mary. wood worker 2 She’s been hankering after John the Fisherman all month and maybe she’s ultimately gotten what she sought after out of him. mary 2 (To wood worker 2) I’ve visible your lecherous eyes . . . you need you'll lay a hand on Mary and now she’s God’s bride, you’re jealous. chippie 2 real adequate, I’d prefer to take omit Mary to a box someplace, yet what does that experience to do with the cost of eggs and butter? So sixty one ◆ SARAH RUHL ◆ might some other younger lad during this city, and that’s precisely what I’m asserting. pontius I’ll bloody your face, Simon, for those who don’t close your gob! chippie 2 I by no means believed the story within the sturdy e-book in any case. Mary used to be most likely a few younger wench knocked up via one other bloke, couldn’t stand to inform her husband to be—afraid he ’d beat her pulpy. Any lady who can convince the multitudes that God’s the daddy of her bastard baby— wood worker 1 punches chippie 2 within the face. they begin brawling. input John the Fisherman, in a loincloth. john What’s this! Ho! hiya! cease the struggling with among brothers. cease! Haven’t you heard the inside track? A miracle in our little city . . . you'll want to bow your heads and be thankful. they appear down, ashamed. a brand new Christ is to be born, because the stable booklet prophesizes. now not will i need to play the a part of Christ. Mary is with baby. wood worker 2 We’ve heard. john Then why the entire brawling? Blood trickles down your chin, sturdy brother. not anyone speaks. input the Director. director What’s all this? soak up your whips. We ’ve just one week left of rehearsal—where’s Mary? sixty two ◆ ardour PLAY ◆ john I left her domestic, in poor health with women’s disorder. a wonderful ailment to undergo for the hot Christ. director Hmmph. She’ll be fined shillings for lacking practice session. john you can't superb a girl for bearing the Messiah, with all due admire, sir. director rather well. possibly below the situations. everybody to their locations. Mary, you learn either components. Pontius, let’s have your speech. pontius (As Pilate) that i'm blameless of this bloode shall ye see; either my fingers shall weshen be. Pontius washes his arms. director commence whipping. The refrain pretends to whip John the Fisherman. Lamentation! mary 2 (As the Virgin Mary) Why? Why is my son slayn? A tableau. sixty three SCENE 20: JOHN AND PONTIUS After practice session. pontius you think that she’s God’s bride, do you? john I see God in her eyes, convinced. pontius while the infant comes out, I’ll guess it’ll glance much less like God and extra like me. john What? pontius You heard me. John the Fisherman appears at Pontius. Mary’s face, illuminated in a window. A tableau. sixty four SCENE 21: M ARY AND MARY The wooded area.