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content – the shared guilt and responsibility for global politics and the dominance of bullying
Western power plays – in dramatic terms, the play doesn’t develop. Although ideas of individual scenes change, the thrust grows predictable." In 2008, David Rooney wrote a lukewarm review for the same magazine. The critic praised the play as having "mordant humor that mercilessly nails the oblivious arrogance of American government". But Rooney complained that the characters don't evolve beyond being national mouthpieces, and argued that certain elements suggest eagerness by Churchill "to lay blame at the feet of all Americans while reserving her scorn on the other side of the pond for toadying politicians. when your main character’s unrepentant guilt is established from the outset, the drama becomes less a developing conflict than an articulate, masterfully staged harangue."
148:. Taylor argued, "It may be wickedly witty in the elliptical fragmentation of the dialogue and the canniness with which it understands the black comedy of mutual dependence. But in pretending that it has found the essential in Britain's relationship with America and in allowing Blair's relationship with Bush to colour the entire proceedings, it is in fact a travesty version of the Special Relationship, which is historically far more nuanced than you would ever deduce from this."
186:"reads as a minor work from a major playwright, little more than a political poison-pen letter with Ms. Churchill, one of the most inventive and incisive dramatists of her generation, even rabid venting takes the form of a brave, canny exploration of theatrical language that comes to startling life on the stage."
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with the world premiere on 10 November 2006. Sam's counterpart was initially named Jack emphasizing the
British nature of the person, while in the 2008 American production he becomes Guy, a possible Mr. Anybody. The American version, therefore, also may be a "mirror" as it addresses the relationship
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lauded the play as "wildly beautiful and entertaining", but also argued that because
Churchill "is a playwright of ideas, she sometimes verges on didacticism, and toward the middle of the play her outrage over America’s conduct in the Middle East begins to eclipse our perception of what’s happening
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Two men, Sam ("a country") and Jack/Guy ("a man"), are homosexual lovers. Their interaction is an elliptical, often fragmented political dialogue. Sam is the aggressive one and Jack/Guy initially his enthusiastic follower, who, however, in the process of the play becomes more and more disenchanted.
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is "drama at its most austerely pure" and wrote, "Unlike dramatists who treat auds as passive, letting them soak up overly explanatory exposition and information, Churchill withholds." But the critic also stated that "Churchill reveals her hand too early. With auds swiftly attuned to the "real"
211:
as "a sort of toxic love song, with grating, malicious politics woven into poetics, which through its darkness is often funny, if bitterly so." The review describes
Churchill as conjuring "another semi-fantastical, semi-commentative great" with a "deeply captivating" political narrative.
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In both productions the two actors sit on a sofa in front of a black background. In the course of the play the sofa becomes more and more levitated, possibly reflecting the notion that the two men are becoming more estranged and losing their footing in reality.
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Sam is clearly identified as the
American government that touts American hegemony and foreign intervention, and Jack is his lover, who becomes a disillusioned follower by the end.
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magazine derided the playwright's attack on the United States as "cartoonish", and found the work minor in comparison to other
Churchill plays.
201:'s Charles Spencer said in 2012 that the play is "as glib and nasty a piece of anti-American agitprop as I have ever seen." Conversely,
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also described the work as "diabolically clever but one-sided", and a "shallow piece of shrill US-baiting" in comparison to
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criticised the playwright's perspective as one-sided, but recognised an underlying anxiety and anger. Paul Taylor of
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political relationship and noted that "the sexuality of politics" takes centrestage. He said that
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was Sam. The
American premiere in March 2008 featured
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62:between the government and its supportive voters.
28:. It addresses the application of power by the
116:suggested that the two characters reflect the
36:. Critics' responses to the play are divided.
24:is a 2006 political play with eight scenes by
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489:"Drunk Enough to Say I Love You? review"
773:Seven Jewish Children – a Play for Gaza
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1105:United Kingdom–United States relations
454:Spencer, Charles (17 September 2012).
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499:from the original on 31 January 2019
306:Benedict, David (26 November 2006).
93:. Both productions were directed by
435:from the original on 28 March 2008
423:McCarter, Jeremy (20 March 2008).
370:from the original on 24 March 2015
105:Reviews were largely unfavorable.
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985:Not Not Not Not Not Enough Oxygen
334:"Drunk Enough to Say I Love You?"
308:"Drunk Enough to Say I Love You?"
280:Taylor, Paul (24 November 2006).
612:Light Shining in Buckinghamshire
955:You've No Need to be Frightened
765:Drunk Enough to Say I Love You?
332:Rooney, David (16 March 2008).
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159:Drunk Enough to Say I Love You?
126:Drunk Enough to Say I Love You?
21:Drunk Enough to Say I Love You?
16:Play written by Caryl Churchill
591:Objections to Sex and Violence
389:Brantley, Ben (6 April 2008).
246:Drunk Enough To Say I Love You
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358:Als, Hilton (24 March 2008).
268:, Timesonline from 11-23-2006
907:Adaptations and translations
887:Lives of the Great Poisoners
732:Three More Sleepless Nights
182:stated that while on paper
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991:Schreber's Nervous Illness
914:Schreber's Nervous Illness
1095:Plays by Caryl Churchill
866:Opera, dance and cabaret
794:War and Peace Gaza Piece
69:In the English premiere
1040:The Legion Hall Bombing
808:Tickets Are Now on Sale
565:Having a Wonderful Time
264:Benedict Nightingale.
172:between the two men."
1033:The After-Dinner Joke
585:Moving Clocks Go Slow
780:Ding Dong the Wicked
702:Love and Information
360:"Friends And Lovers"
244:Michael Billington,
130:Benedict Nightingale
880:A Mouthful of Birds
843:Bluebeard's Friends
495:. 30 January 2019.
270:accessed 04-06-2008
254:accessed 04-07-2008
234:accessed 04-06-2008
189:Jeremy McCarter of
55:Royal Court Theatre
1069:Max Stafford-Clark
395:The New York Times
179:The New York Times
151:David Benedict of
114:Michael Billington
87:The Public Theater
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678:The Skriker
604:Vinegar Tom
232:, Curtainup
228:Les Gutman
83:Scott Cohen
79:Samuel West
49:Productions
34:Vietnam War
1090:2006 plays
1084:Categories
1019:Television
801:Here We Go
686:Blue Heart
670:Mad Forest
649:Midday Sun
620:Cloud Nine
571:Easy Death
559:Downstairs
216:References
81:(Guy) and
75:Ty Burrell
873:Floorshow
744:Hot Fudge
628:Top Girls
468:0307-1235
403:0362-4331
134:The Times
101:Reception
91:Manhattan
85:(Sam) at
979:Abortive
967:Lovesick
961:The Ants
920:Thyestes
757:Far Away
726:Seagulls
694:A Number
663:Icecream
643:Softcops
497:Archived
433:Archived
368:Archived
192:New York
145:Far Away
552:Theatre
338:Variety
312:Variety
208:Varsity
154:Variety
1054:(1987)
1048:(1982)
1046:Crimes
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374:24 May
343:28 May
317:28 May
291:27 May
59:London
1052:Fugue
934:Bliss
893:Hotel
827:Glass
597:Traps
248:, in
122:Blair
110:'
835:Kill
505:2020
475:2020
464:ISSN
441:2020
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399:ISSN
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