By Adam Rapp
"Fifteen years in the past I killed my sister."
So starts Adam Rapp's hugely acclaimed play Nocturne, within which a 32-year-old former piano prodigy recounts the tragic occasions that tore his kinfolk apart.
With a willing eye for human relationships and a deft ear for language, Rapp explores the aftershock of this unbelievable occasion. the daddy is so incapable of forgiveness he places a gun in his son's mouth; the mum so shattered, she deserts the relatives and at last takes go away of her sanity altogether; the son--only 17 years outdated on the time--sets out for brand new York urban. There, he seeks an uneasy shelter in books and reinvents himself as a author. around the decade and a part that follows he attempts to deal with the ramifications of his personal ache and estrangement whereas creating a determined look for redemption.
A devastating, dependent, and gripping dissection of the yankee dream, Nocturne indications a courageous new voice in American theater.
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Additional info for Nocturne: A Play
Example text
The other was a photograph of a large, white, two-storied house, with a wide front and upper gallery and a circle of oaks in the front yard. It was called Seven Oaks, and on the gallery were two women surrounded by a group of children of various ages. From the Genesis of a Playwright 21 look of the children’s dress, I would guess that the picture was taken in the 1880s. This house was the home of my maternal grandfather, built by his father for his bride on the banks of the Brazos River in the town of East Columbia, a thriving river town in the 1850s.
I spent much time climbing this tree. I had to nail boards to the trunk to make a kind of ladder to help me reach its branches. To the right of our yard and across the street were cotton fields belonging to my grandfather, and beyond them were cotton fields belonging to my great-great-uncle. These cotton fields went right up to the back edge of the town itself, to the livery stable and a section known as the “Flats” that had black restaurants and a black barber shop and pool hall. There are houses on either side of my house now, and in front, where there once had been a dirt road, there is now a paved one.
For Foote, television was simply one more place where he could perform his one-act plays, a form to which he has always been attracted. “As a writer for the theater,” Foote stated, “I often felt that I had to waste a good deal of material that interested me simply because the material did not warrant a fuller treatment for the stage. Now, in the hour-long play, the writer has the opportunity to use just such material, and in a medium that presents this material with great honesty and emotional power” (“Sometimes the One-Act Play Says It All”).