What should have been the Review for Carbomb
By Adabella Belmont
It is quite obvious from this review that the reviewer is incapable of discerning a plot, unless it is spelled out to her. However, those that enjoy some involvement in shows would truly take pleasure in this one. Although the play does deal with bombings, it in no way glorifies or ignores the issues that result from such events. It doesn’t seem as though the opening of this play purposely coincided with the previously mentioned tragedies.
After speaking to the writer, it becomes evident that this play was not just an idea tossed together but also a very involved and original making. Despite the fictionality of the play, it is presented in a realistic view. The play listed as a ‘world premiere’, is exactly that. Premieres are first showings and since this is the first time the play has been preformed, it is a premiere. It could have been called a “regional” or “national” premiere, but honestly I don’t see how that makes a difference. Critiquing the designation of the play’s opening seems unimportant when there are many others things that could be looked at. As for John Lane, the director, his selection of actors may have been almost perfect. To call the play ‘a work an progress’ is an ignorant call. I would like to know how the first showing of a play could be a ‘work in progress’, when there is no other version to compare it to. The directionality of the play could not have been done better. Lane may have used his interpretation to start, but Isenberg seemed satisfied with the result. Clearly showing that the intended vision was properly delivered. The clarity of the play was involved, which allowed the audience to take away their own interpretation. The main plot was not difficult to discern and someone that had trouble with this probably shouldn’t be seeing the play anyway.
The three main characters of the play Liam, Patrick, and Derrick all bring different attitudes to the play. Liam (Chris Brozetti), the loud spoken, assertive leader of the pact remains a constant contributor to the evolving plot line. Whereas soft, spoken Patrick (Jason Bingaman) who clearly suffers from a low self-esteem, is constantly trying to make a stand for himself. Followed by the two year absent return of cousin Derrick (Ash Halli). As soon as Derrick comes into the picture it is clear that there is some deep-rooted emotional issue that he is struggling with. Despite this fact Patrick welcomes him with open arms, but as for Liam he isn’t so acceptable of this unexpected return. It is here that Derrick, wearing a camo jacket in radical form, proudly tells Liam and Patrick the reason for his return, which is to assassinate the British prime minister when he comes to town. Derrick cannot help but be forceful about his plan, even with his twitch and his obvious struggle with himself; Derrick is completely devoted to this feat.
Despite the unpredicted plot turn, it is hinted that this plan was developed during Derrick’s absence. It isn’t quite obvious if Derrick came up with this on his own or if there are others behind him. This confusion is then cleared up in the first scene of Act 2. Which opens with a vision into Derrick’s mind, but is quickly interrupted by a man (TJ Firneno) and woman (Gail Hofbauer) dressed in business attire. It is clear from their entrance that they have a plan for Derrick and will do anything to get him to agree. The man choices brute force, but the woman opts for a slightly more gentle approach. Here the audience learns that Derrick in fact suffers from schizophrenia do to past emotional traumas.
The accompanying music does a great job at portraying each emotion involved with the scenes. Without the music, the audience would not have got to feel how each character was feeling. Thoughtfully inserted into the play are Isenberg’s comical reliefs as well as a few jokes caught only by those carefully listening to the dialogue. In no way does Carbomb resemble anything ever portrayed on an episode of The Three Stooges. The superficial humor in a television is the complete opposite of the humor expressed in this play. The ending to the play is carefully constructed so that the audience is able to each character at their worst. The end also presents a new character, Mary (MJ Flott), Liam’s girlfriend. The closing scene, which involves just the two of them, displays the emotional stress of relationships, which is rarely seen. Each character suffers from their own past troubles, and with Isenberg’s creative writing and Lane’s detailed direction the audience is also able to experience these troubles. Which ultimately brings the relationship between the audience and the actors to a much higher level.
Carbomb, is an interesting and at times emotional and humorous ride taken by any audience member. It was a pleasure to be able to experience this play and I greatly hope and anticipate for another ‘world premiere’ by Robert Isenberg.
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By Adabella Belmont
It is quite obvious from this review that the reviewer is incapable of discerning a plot, unless it is spelled out to her. However, those that enjoy some involvement in shows would truly take pleasure in this one. Although the play does deal with bombings, it in no way glorifies or ignores the issues that result from such events. It doesn’t seem as though the opening of this play purposely coincided with the previously mentioned tragedies.
After speaking to the writer, it becomes evident that this play was not just an idea tossed together but also a very involved and original making. Despite the fictionality of the play, it is presented in a realistic view. The play listed as a ‘world premiere’, is exactly that. Premieres are first showings and since this is the first time the play has been preformed, it is a premiere. It could have been called a “regional” or “national” premiere, but honestly I don’t see how that makes a difference. Critiquing the designation of the play’s opening seems unimportant when there are many others things that could be looked at. As for John Lane, the director, his selection of actors may have been almost perfect. To call the play ‘a work an progress’ is an ignorant call. I would like to know how the first showing of a play could be a ‘work in progress’, when there is no other version to compare it to. The directionality of the play could not have been done better. Lane may have used his interpretation to start, but Isenberg seemed satisfied with the result. Clearly showing that the intended vision was properly delivered. The clarity of the play was involved, which allowed the audience to take away their own interpretation. The main plot was not difficult to discern and someone that had trouble with this probably shouldn’t be seeing the play anyway.
The three main characters of the play Liam, Patrick, and Derrick all bring different attitudes to the play. Liam (Chris Brozetti), the loud spoken, assertive leader of the pact remains a constant contributor to the evolving plot line. Whereas soft, spoken Patrick (Jason Bingaman) who clearly suffers from a low self-esteem, is constantly trying to make a stand for himself. Followed by the two year absent return of cousin Derrick (Ash Halli). As soon as Derrick comes into the picture it is clear that there is some deep-rooted emotional issue that he is struggling with. Despite this fact Patrick welcomes him with open arms, but as for Liam he isn’t so acceptable of this unexpected return. It is here that Derrick, wearing a camo jacket in radical form, proudly tells Liam and Patrick the reason for his return, which is to assassinate the British prime minister when he comes to town. Derrick cannot help but be forceful about his plan, even with his twitch and his obvious struggle with himself; Derrick is completely devoted to this feat.
Despite the unpredicted plot turn, it is hinted that this plan was developed during Derrick’s absence. It isn’t quite obvious if Derrick came up with this on his own or if there are others behind him. This confusion is then cleared up in the first scene of Act 2. Which opens with a vision into Derrick’s mind, but is quickly interrupted by a man (TJ Firneno) and woman (Gail Hofbauer) dressed in business attire. It is clear from their entrance that they have a plan for Derrick and will do anything to get him to agree. The man choices brute force, but the woman opts for a slightly more gentle approach. Here the audience learns that Derrick in fact suffers from schizophrenia do to past emotional traumas.
The accompanying music does a great job at portraying each emotion involved with the scenes. Without the music, the audience would not have got to feel how each character was feeling. Thoughtfully inserted into the play are Isenberg’s comical reliefs as well as a few jokes caught only by those carefully listening to the dialogue. In no way does Carbomb resemble anything ever portrayed on an episode of The Three Stooges. The superficial humor in a television is the complete opposite of the humor expressed in this play. The ending to the play is carefully constructed so that the audience is able to each character at their worst. The end also presents a new character, Mary (MJ Flott), Liam’s girlfriend. The closing scene, which involves just the two of them, displays the emotional stress of relationships, which is rarely seen. Each character suffers from their own past troubles, and with Isenberg’s creative writing and Lane’s detailed direction the audience is also able to experience these troubles. Which ultimately brings the relationship between the audience and the actors to a much higher level.
Carbomb, is an interesting and at times emotional and humorous ride taken by any audience member. It was a pleasure to be able to experience this play and I greatly hope and anticipate for another ‘world premiere’ by Robert Isenberg.