The Ghost Sonata, Op. 3
15 October 2012 in Theater
On a whim, I decided to go see Cutting Ball Theater’s production of August Strindberg’s The Ghost Sonata, one of five chamber plays in repertory at the Exit Theater on Taylor. The venue is the tiniest of spaces (60 to 70 seats), which made for one of the most engaging, up close, and intimate performance experiences I’ve had in a long time. (Two days prior, I was perched away far away in the balcony at San Francisco Opera.) At the Exit, the size of the venue supports Strindberg’s style so well: there is an abbreviated quality to his storytelling, and though the characters do not lack emotional intensity, they seem sketched as if in outline with a dark pencil. There is
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