SLAUGHTER CITY IBD

Sinopse

á á&ldquo,It&rsquo,s not just the blood-spattered slaughterhouse setting that makes the Royal Shakespeare Company&rsquo,s SLAUGHTER CITY an unusually meaty (you&rsquo,ll forgive the expression) new play. Aligning issues of class and race and labor dynamics to a surrealist aesthetic as elusive as her politics are straightforward, American writer Naomi Wallace shows a willingness to embrace topics once treated by the likes of Clifford Odets and Sophie Treadwell. á áThese days, such terrain is left to the movies&mdash,Paul Schrader&rsquo,s Blue Collar, among others&mdash,but the pulse of Wallace&rsquo,s writing is of and for the theater. Hers may not be the most audience-friendly of voices, but even her opacity commands attention.&rdquo, Matt Wolf, Varietyá á&ldquo,Naomi Wallace&rsquo,s SLAUGHTER CITY, which gets its premiere in The Pit, is a strange and compelling play that unties two elements in the American tradition&mdash,the radical and the mystic. If it reminds me of anyone it is the Walt Whitman who wrote of &lsquo,the audacity of freedom&rsquo, and the need for America to free itself from the anti-democratic European past. á áOn the radical level, the play is a passionate protest against exploitation&hellip, á á&hellip,the play has passion, poetry and a wild strangeness. Wallace also writes highly effective individual scenes&hellip, á áMost cheering of all is Wallace&rsquo,s adventurous attempt to redefine political drama in terms of a feminist surrealism.&rdquo, Michael Billington, The Guardian