Bøger af Joe Pintauro

"Joe Pintauro's BESIDE HERSELF…is a real uplifter…. Mary Candee is a woman whose life has not turned out the way she imagined…. Pintauro's heroine is, in short, a representation of Unfulfilled Womanhood, and if she…had been conceived by a less subtle, elegant-minded playwright, she would probably be a cliché…. …Three characters materialize-apparitions, obviously-and enter into lively conversation…you realize that these females are not creations of the heroine's imagination, but earlier versions of herself…. …its juxtaposition of the romantic and the banal…makes Pintauro's play alternately lovely and piquant…. Instead of watching a character relive past events (Willy Loman style), we see characters from the past taking an unnatural interest in what is going on in the present. Or else we're watching her younger selves watch the heroine go through the motions of her life. It's funny and poignant, and one of the best uses I've seen of the device of representing the changing of the divided self by more than one actor. Like the ghosts in…OUR TOWN, each of the apparitions knows only her part of what has happened in the world and in the heroine's life. (The little girl doesn't know that the Second World War is over; the young girl doesn't know whom the heroine wound up marrying; the woman in violet doesn't know that the heroine's husband died.) The fact that each can understand only what she could be expected to furnishes occasions for drama and passion. There's a generosity toward actors in the way Pintauro has given each of the apparitions a thematic and psychological function…." Mimi Kramer, The New Yorker

A much-beloved Roman Catholic priest is suddenly thrust into the midst of a scandal. THE DEAD BOY is a story of longing and taboo. "Whether you see the play as a loss of innocence, an abuse of power or an ill fated love story, THE DEAD BOY is a modern-day gothic drama, every bit as tragic and sensational as the headlines about the Catholic church." Marlene Canty, Asbury Park Press "When the boy, only symbolically dead, stands up, stares at heaven to look god in the eye, and swears he'll never do what he's about to do, then goes ahead and does it, the earth stands still. But when the boy cuts his throat, noiselessly, with an invisible blade, the world stood still again, and even god was appalled. THE DEAD BOY is one of the best experiences I've ever had in a theater." Mark Howell, Solares Hill Weekly (Key West) "More than I could have expected from all aspects of this emotionally startling and passionately performed play." Dan Johnson, redbank.com