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Owing to the extensive promotion of this particular production, a large number of people turned up for the play. Probably, the fact that A Noise Within does not disappoint in delivering quality could also have been a reason for the huge turn up. An early arrival into the hall got me a joint close to the stage where I would catch every action of the play without screen-aided view. The theater was set in an angle of elevation such that the last row was way above the others, just like a stadium.
The cast began on time. Having read the book and watched the film version of Grapes of Wrath, I was sure to follow the play stage by stage to the end. I did not expect a different change of events, maybe a few adjustments to meet the live cast production standards. Next to me was a woman who did not have a clue of what Grapes of Wrath was all about. She was a little bit too anxious, and kept asking too many questions regarding the book that I sensed this was her first time for a play. I sensed this would distract me from catching the high and low moments of the play, yet, having chosen most appropriate point to have the best view, I was not of the idea to change my position. Of course the hall was capacity stacked, meaning I would have to go behind a couple of rows behind. When the announcement came through that the play was about to start, I played a deaf year to the woman’s chat. I wanted her to understand I was a lover of plays and nothing would distract me. People took deep breathes of relief, others shifted their sitting positions while the loud murmur died abruptly waiting for the moment to come.
The curtains opened simultaneously with dim stage lighting, though it was not too dim to make of the stage set. It was close to the 1930’s, no doubt about that. The touches put, though some props were a little bit too modern, it gave the feeling that this was almost the era of the Second World War. The stage was fully lit when the curtains were fully drawn.
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May is the play’s female protagonist, Dan is her husband, Roy is her impotent lover, Duncan is May’s father, Denis is her brother and Abel is a social worker or stranger. The performance of the play and its designated title propels one to question whether the manner in which people relate to strangers, with whom they have no connection, is different from their relationship with family members, children and other close relations.
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I firmly believe that Leo is affirming this convictions having perceived art from a three-dimensional angle. I concur with Leo standpoint since the rebirth of art in any part of the globe is a universal representation
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