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Fault or Pardon “Pardon My Queen”
by Citizen Critic | Apr 14, 2006 3:11 pm
(3) Comments | Commenting has been closed | E-mail the Author
Posted to: Arts
Thursday was opening night for “Pardon My Queen,” written by Nastaran Ahmadi, directed by Jessi Hill, and onstage through Saturday at the Yale Cabaret (217 Park St.). Hyped as a “postmodern fairytale” and set to the buzz of an electric guitar, this student-written play promised to have us questioning what we hold dear and how far a Queen will go to keep her throne. Click here to read what opening-night audience-members found out, and what impressions they had along the way.
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Comments
posted by: Richard Masterson on April 14, 2006 11:35am
The Queen is alive and kicking, long live the queen. Tiffany Stewart gives a saucey performance, which raises the temperature over jester. Alex Organ’s Jester is no guitar virtuoso. In fact the moment he picks at the guitar, the king (and I mean Elvis) dies a little more. Agatha, the rambunctious ten year old heiress to the throne, played by Sofia Gomez, livens the stage. Betty ( Erin Buckley) her older, annoying and overbearing sister couldn’t decide if she was daughter or mother. And like all eldest siblings she was lacking charm.
Over all the writing left something to be desired. The sex wasn’t as suggestive as I wanted. Let’s see the sex live up to the queens hotness.
Go see it if your bored.
posted by: Tess Wheelwright on April 14, 2006 12:55pm
The Queen may have rightfully inherited her throne – but she stole the show! Moving easily between coolness, playfulness, and convincing lustfulness, she delivered surprises and freshness with each line. Her character took on depth and complexity – unique on a stage otherwise full of characters perhaps too starkly defined: the jester bland and dutiful, the youngest daughter hysterical and Ritalin-deprived (?), her poison older sister raunchy and resentful. By the end, you could almost predict the lines with which they’d reinforce these (overly) defining aspects. The queen’s depth, on the other hand, made for some truly moving moments—unexpected in this odd, improbable world where the foul-mouthed royal protagonist gets the scoop on her subjects through midnight dumpster-raids, when she isn’t laying around passing a roach-clip back-and-forth with her electric-guitar-playing jester. The palpable tenderness between her and frenzied little Agatha, whom she tries desperately, goofily, touchingly to shield from reality’s deaths and disloyalties, comes to mind.
