Mr. Burns - A Post Electric Play. Get ready for a dizzying, dazzling mash up of TV, film, music and theatre! A couple of the actors simply need to be louder; there’s something almost timid about the vocal delivery, overall. By closing this banner or by continuing to use Eventbrite, you agree. The play becomes a backstage drama, as they bicker about directorial decisions and artistic merit. Get ready for a dizzying, dazzling mash up of TV, film, music and theatre! The episode is Cape Feare, which is largely a parody of Martin Scorsese’s remake of the Robert Mitchum film, Cape Fear. We already have this email. Recalling an old episode was an activity for the characters to spend time during a period of nuclear disaster. “Our cast and crew really stuck with this show. Directed By Tom Eason. Join some of NASDA’s 3rd year students as they bring you An Amateur Production of Mr. Burns by special arrangement with New Zealand Play Bureau Ltd. at the NASDA Theatre May 29 - 30 and June 1 - 4, Madras Street Ara Institute of Canterbury, Christchurch, New Zealand. The survivors bond over this communal recollection, or maybe just keep the fear and despair at bay. The third act is set 75 years later again, and is best kept under wraps. This scene addresses our own engagement with popular culture through interaction. When an outsider, Gibson (Mark Yeates) arrives, they all draw their weapons, but when it turns out he can help them with some choice lines from the ep, he quickly becomes embraced by the group. Emma Choy makes for a surprisingly moving Bart and Hannah Greenwood makes a truly monstrous Itchy. Maybe that production of I Am the Walrus wasn’t as bad as I remember. "Mr. Burns: A Post-Electric Play" continues with performances Friday-Sunday, May 11-13, at the Tulsa PAC, 110 E. Second St. For tickets: 918-596-7111, myticketoffice.com Musical Direction By Andy Manning. Selected monologues from Mr. Burns, a Post-electric Play including video examples, context and character information. Sophie Woodward’s set and costumes are often terrifically effective but they are also burdensome and bulky, which slows down a play that is already too long – most noticeably in act two. Washburn’s play focuses on a group of people who recall an episode of The Simpsons during a time of crisis. Mr. Burns a post-electric play received its world premiere at the Woolly Mammoth Theater Company in Washington DC in May, 2012, and had its New York City debut at Playwrights Horizons in August, 2013 under the direction of Steve Cosson. But Washburn suggests that even that may still have a life to come. So we can see the Greek theatre underneath the morality plays of the middle ages; we can see Robert Mitchum’s performance in. It’s not exactly radical, because it’s exactly how we read modern culture, but it sure is head spinning trying to keep up. I don’t mention it to shame the wonderfully ambitious students who mounted it, but to underline a point about memory and the infinite mutability of cultural forms: it doesn’t matter if the culture is high or low; it only matters what we do with it, how we imbue it with meaning. Your email will only be seen by the event organiser. Organ Concert: Martin Setchell (Town Hall Organist) - "Encore! Log in or sign up for Eventbrite to save events you're interested in. . They had to … Contact the organiser to request a refund. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. It makes for an interesting companion piece to Annie Baker’s, , which in its own way imagined a kind of apocalypse of the story-telling urge. This is a good choice, because it’s already a cannibalistic piece of pop culture that draws in – as every episode of The Simpsons did – myriad references to other works, most notably Gilbert and Sullivan’s H.M.S Pinafore. Maybe that production of. I don’t mention it to shame the wonderfully ambitious students who mounted it, but to underline a point about memory and the infinite mutability of cultural forms: it doesn’t matter if the culture is high or low; it only matters what we do with it, how we imbue it with meaning. Therefore, in the first act, a group of people sits around a campfire to talk about The Simpsons: Cape Feare episode. Thanks for subscribing! People did not have a form of entertainment because they had no electricity, television, and digital entertainment. I once saw a theatrical adaptation of the Beatles song ‘I Am the Walrus’ at Melbourne University, and I remember it being very bad.