95:"random" section of scenes, included at the end of the play, are able to be incorporated anywhere within the play. The loose structure of the play and the wide range of casting options—nothing is specific in terms of casting—allows the director ample freedom to develop the storyline of the play along with the particular themes and questions they want to highlight with their production. Within the play are over 100 characters, but none of the characters are named and they can be double cast. After watching the play, writer Jennifer Wilkinson wrote, "The play asks us to consider how meaning is constructed and to participate in the process. The script has few stage directions, the characters are not gendered, the scenes can appear in a different order, and there are some random scenes which can be inserted anywhere in the play. This gives any director and company broad scope for creative input."
371:"the dramatic equivalent of going through countless emails, some interesting, some touching, some funny, some alarming, and many downright dull. A bewildering sense of information overload sets in and on my return from the theatre I realised that probably only half a dozen of the many scenes had lodged themselves firmly in my memory. So I read the play and once again a good deal of it still failed to linger in my mind." He argued, of the vignette in which a woman confides to a young boy that she is his mother, that Churchill insufficiently explores the emotional consequences.
120:. She created a "clinical white-cube set, each piece a slightly hallucinatory distinctness. Kristin Tillotson of the Startribune writes: "Caryl Churchill's sound-bite exploration of the modern state of human connections and the ever-increasing onslaught of knowledge both useless and profound has something for everyone, especially those with short attention spans. ... reminds us that no matter how many sophisticated modes of communicating with other flawed humans that we can access, we'll still manage to misconstrue, misconvey, then kiss and make up, just like always."
262:'s Jason Fitzgerald wrote that Macdonald "turns a play that’s intellectually interesting but potentially tedious into a funny, vivacious, and often tender cornucopia of human experience." Fitzgerald said that the playwright "makes lyrical irony out of our inability to make sense of our universe". Calling Churchill "not only one of the most radically inventive dramatists of the modern era but also one of the most trenchantly observant", Charles McNulty of
116:. It was directed by James Macdonald. The run time of this play was about an hour and 40 minutes. Macdonald's "energetic production supplies much in the way of context, anchoring each episode in a particular place and creating a kind of social kaleidoscope in the process." In this production, Macdonald cast 16 actors to rotate around and play a large variety of characters throughout the play. The set was designed by
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wrote that the success of the performance is "only partly down to the succinct and thought-provoking script – director James
Macdonald has taken a gift of a play, with dialogue that is open to huge interpretation, and has run with it." The critic stated that while some may consider it a gimmick, "the
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wrote that some scenelets "are not developed enough to build much internal drama, and the sequencing of them builds none. a few scenes are too smarty-pants to produce any direct satisfaction. Focusing on that, though, is to ignore the other kinds of pleasure and information the play is providing."
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performance four out of five stars and argued that the playwright "is saying that we have to be rather than its slave and learn how to live with the cascade of fact and opinion. For me, Churchill suggests, with compassionate urgency, that our insatiable appetite for knowledge needs to be informed
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The play is a compilation of seven sections each with a number of scenes that range from less than a minute in length to a few minutes long. The seven sections of the play must be done in order; however, the scenes/vignettes within each section can be done in whatever order the director wishes. The
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praIsed the work for avoiding being heavy-handed: "Churchill is not here to condemn our
Information Age, but to understand how it's changed us". The critic stated, "A few of the shorter scenes have the disposable feel of cheap one-liners But other short scenes are surprisingly affecting, and the
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as a "thought-churning, deeply poignant new play", arguing, "As a whole, these parts compel us to think about the paradoxical variety and similarity in the ways we try to make sense of our universe and our place in it. And every little snippet of a play here leaves us wondering about what happened
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January 30-February 22 of 2015. This production went on at the Ritz
Theatre in Minneapolis, MN. The show was directed by Wendy Knox and featured Patrick Bailey, Virginia Burke, Joy Dolo, Kirby Bennett, Katherine Ferrand, Tessa Flynn, Emily Grodzik, Brianne Hill, Leif Jurgensen, Taous Khazem, Sam
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feels like getting tiny glimpses into huge worlds. When it achieves this, we feel the weight of many small moments strung together, and the promise that it might all add up to something. We see friends, lovers, parents, children, strangers, all trying hard to connect, or to say something to one
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admitted to "a nagging doubt that it would not have made it to the stage if it had not been written by the Royal Court’s most revered living writer", and stated that "sometimes the message is buried in banal exchanges — so deeply it might as well not be there at all."
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said that "she appears to concur with her dramatic forebears from 21/2 millenniums ago that knowledge must be irradiated by emotion to become wisdom. Churchill lays bare the frenetic zeitgeist with surgical precision, but she allows mystery and poetry to hold sway."
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criticized director Shawn
Douglass' production because "the individual scenes are mostly not specific and fully realized enough that you can believe they really are happening", but said that the play itself is "a terrific and important play". John Del Signore of
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argued, "By employing a crazy-quilt approach to storytelling, Churchill ably evokes the mediated existence most of us are currently drowning in. It's a place where context is removed, meaning is only fleetingly visible, and distraction passes for hope."
330:'s Glenn Sumi wrote that "the play’s barrage of data becomes as overwhelming as the stuff on our screens, with only intermittent moments holding our interest. There’s too much information in this play, and too little love." J. Kelly Nestruck of
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noted the "diverse forms of
Churchill's writing" despite giving the performance she had seen three out of five stars and comparing it unfavorably to the original performance directed by Macdonald.
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that "it’s the brilliant specificity of
Churchill’s observations and the clarity of her writing that linger long after the performance is over". In 2018, Catherine Love of
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form of the play speaks volumes about the fast turnover of modern life – our jobs, our homes, relationships, media – a pervading sense of impermanence many people feel."
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another. At its worst, it feels like a constant scrolling through your newsfeed and seeing something catch your eye but not stopping to find out what it is." In
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stated that the play leaves one with that "uneasy, queasy feeling that you get after spending a similar amount of time on
Facebook or Twitter." John Nathan of
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Green said that "the writing remains ripe with the recognizable
Churchillian qualities of wit and paradox, astringency and forgiveness." Chris Jones of
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co-produced an
Australian production which opened in Melbourne in June 2015 and toured to Sydney in July 2015. The show was directed by
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The
Embodied Mind: Character and Subjectivity in the Work of Samuel Beckett, Tom Stoppard, Caryl Churchill and Jacques Lacan
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on the 9 and 10 of August 2016. The show was directed by Sherrill Gow and performed by the Lyric Young Company.
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948:"Review: Love and Information - Caryl Churchill offends again, but only against theatre convention"
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Tillotson, Kristin (3 February 2015). ""Love and Information": snapshots of modern communication".
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nominations, four Sydney Theatre Awards Nominations, and a nomination for Williams for the
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and the Royal Court, from February 4 through April 6, 2014. The production, which included
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870:"In Caryl Churchill's Love and Information it's the clarity of the writing that lingers"
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706:"Love And Information (REVIEW): Caryl Churchill 's Punchy Postcards Of British Life"
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Taylor, Paul (18 September 2012). "Love and Information Royal Court, London ****".
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Tillotson, Kristin. "'Love and Information': Snapshots of Modern Communication."
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922:"Review: Love and Information is a jam-packed play you'll struggle to remember"
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732:"Review: Caryl Churchill's Love and Information at New York Theatre Workshop"
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813:"'Love and Information': Tough to build a relationship between 57 scenes"
787:"Theater Review: Caryl Churchill and the Thin Line Between Love and Hate"
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lauded Churchill's text as "beautifully wrought". Michael Billington of
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454:. 20 Sept. 2015. Web. Wilkinson, Jennifer. "Love and Information."
760:"Review: A big 'like' for Caryl Churchill's 'Love and Information'"
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in September 2012. It received many positive reviews from critics.
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147:, was slightly "tweaked" in collaboration with its American cast.
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Tripney, Natasha (15 September 2012). "Love and Information".
896:"Love And Information could use more love, less information"
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Engendering Drama: Caryl Churchill and the Stages of Reform
433:. Independent Digital News and Media, 18 Sept. 2012. Web.
839:"Theater Review: Caryl Churchill's Love And Information"
384:. New York: Theatre Communications Group, 2013. Print.
405:. Ann Arbor, MI: U Microfilms Internat., 1988. Print.
190:, Marco Chiappi, Glenn Hazeldine, Anthony Taufa, and
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called it a beautiful mess and wrote, "At its best,
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1000:"Love and Information, Royal Court Theatre, review"
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630:"Love and Information by Caryl Churchill (review)"
415:Lyall, Sarah. "The Mysteries of Caryl Churchill."
403:Open-ended Inquiries: The Plays of Caryl Churchill
256:before and what happens after what we’ve seen."
426:. College Park, Md: U of Maryland, 1988. Print.
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321:'s Malvika Jolly called the play "poignant".
235:by our capacity for love." Matthew Tucker of
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78:is a play written by the British playwright
200:Helpmann Award for Best Direction of a Play
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450:Tripney, Natasha. "Love and Information."
160:Pearson, Elohim Pena and Carl Schoenborn.
123:Macdonald also helmed a production at the
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678:Billington, Michael (14 September 2012).
477:"Love and Information | Socialist Review"
155:Minneapolis-based Frank Theatre produced
974:"Review: Love and Information don't mix"
408:"Love and Information - Frank Theatre."
194:. The acclaimed production received two
1288:Seven Jewish Children – a Play for Gaza
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131:, presented as a co-production between
998:Spencer, Charles (17 September 2012).
291:overall tone is whimsical and sweet."
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730:Fitzgerald, Jason (9 February 2014).
704:Tucker, Matthew (17 September 2012).
396:Love and Information: Background Pack
394:Gagliano, Lynne, and Caitlin McLeod.
391:. London: Methuen Drama, 1989. Print.
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920:Nestruck, J. Kelly (17 April 2018).
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398:. London: Royal Court Theatre. PDF.
946:Nathan, John (20 September 2012).
837:Del Signore, John (8 March 2014).
628:Diamond, Elin (19 November 2014).
324:Some reviews were less favorable.
14:
1500:Not Not Not Not Not Enough Oxygen
972:Lake, Michael (10 October 2019).
785:Green, Jesse (14 February 2014).
174:and featured an ensemble cast of
1127:Light Shining in Buckinghamshire
868:Fricker, Karen (16 April 2018).
811:Jones, Chris (16 October 2015).
554:"57 Bits of Emotional Knowledge"
1470:You've No Need to be Frightened
1280:Drunk Enough to Say I Love You?
680:"Love and Information – review"
1106:Objections to Sex and Violence
552:Brantley, Ben (6 April 2014).
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894:Sumi, Glenn (16 April 2018).
1422:Adaptations and translations
1402:Lives of the Great Poisoners
1247:Three More Sleepless Nights
206:Lyric Theatre (Hammersmith)
108:The original production of
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1506:Schreber's Nervous Illness
1429:Schreber's Nervous Illness
591:New York Theatre Workshop
389:Churchill, the Playwright
151:Other notable productions
133:New York Theatre Workshop
82:. It first opened at the
1605:Plays by Caryl Churchill
1381:Opera, dance and cabaret
1309:War and Peace Gaza Piece
294:Karen Fricker stated in
1555:The Legion Hall Bombing
1323:Tickets Are Now on Sale
1080:Having a Wonderful Time
422:Selmon, Michael Layne.
16:Play by Caryl Churchill
587:"Love and Information"
401:Kritzer, Amelia Howe.
168:Sydney Theatre Company
1548:The After-Dinner Joke
1100:Moving Clocks Go Slow
112:was performed by the
1295:Ding Dong the Wicked
1217:Love and Information
952:The Jewish Chronicle
646:10.1353/tj.2014.0079
382:Love and Information
369:Love and Information
354:Love and Information
339:The Jewish Chronicle
253:Love and Information
210:Love and Information
157:Love and Information
125:Minetta Lane Theatre
110:Love and Information
75:Love and Information
24:Love and Information
1395:A Mouthful of Birds
1358:Bluebeard's Friends
447:. 4 Feb. 2015. Web.
419:5 Dec. 2004. Print.
387:Cousin, Geraldine.
232:Royal Court Theatre
114:Royal Court Theatre
104:Original production
84:Royal Court Theatre
58:Royal Court Theatre
42:September 2012
1584:Max Stafford-Clark
926:The Globe and Mail
558:The New York Times
380:Churchill, Caryl.
375:General references
333:The Globe and Mail
248:The New York Times
222:Rutgers University
99:Production history
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764:Los Angeles Times
710:consent.yahoo.com
458:. Oct. 2012. Web.
265:Los Angeles Times
196:Green Room Awards
164:Malthouse Theatre
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412:. Web. 201.
238:HuffPost UK
141:Maria Tucci
137:Noah Galvin
1610:2012 plays
1599:Categories
1534:Television
1316:Here We Go
1201:Blue Heart
1185:Mad Forest
1164:Midday Sun
1135:Cloud Nine
1086:Easy Death
1074:Downstairs
463:References
180:Anita Hegh
29:Written by
1388:Floorshow
1259:Hot Fudge
1143:Top Girls
1012:0307-1235
843:Gothamist
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503:The Stage
452:The Stage
349:The Coast
288:Gothamist
216:Reception
208:produced
1494:Abortive
1482:Lovesick
1476:The Ants
1435:Thyestes
1272:Far Away
1241:Seagulls
1209:A Number
1178:Icecream
1158:Softcops
486:19 April
90:Synopsis
1067:Theatre
791:Vulture
367:dubbed
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1093:Owners
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1342:Glass
1112:Traps
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596:6 May
259:Slant
1350:Kill
1019:2020
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