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From a letter we
received from a theatre aficionado*:
“…I wouldn’t have seen the play Journey’s End if a friend hadn’t
suggested it. I knew about the great reviews, but I felt as if I’d
had it up to here with war and its depictions in art. The
worshipping of celebrities by this society has nearly devoured all
anti-war and war films from years past, making the films almost
insufferable to sit through. As for an antiquated play from 1928, I
could only imagine a similar, and predictable, ordeal. Thankfully,
my friend’s persistence prevailed.
There’s more power in the play Journey’s End than suggested by any
of the many laudatory reviews. So forceful was the play’s ending
that I felt as if I’d been catapulted straight out of my seat onto
the pavement—and left reeling. When the full power of the play hits,
you simply aren’t ready for it. Outside in front of the Belasco
Theatre, my friend and I were nearly speechless—and for days
afterward, I was haunted by Journey’s End.
As a work of art, Journey’s End goes further than any other creative
endeavor I’ve encountered in making the audience feel the
experience. The final moments of the play make war come to life with
an almost unbearable shock. There’s no distancing oneself from
what’s happening onstage—and I was reminded of the shattering poetry
of Wilfred Owen, the WWI poet who was killed at age 27. Such is the
power of R.C. Sherriff’s play that it evokes Chekhov far more than
it does a film such as Saving Private Ryan.
What’s truly amazing about this play is that there is absolutely
nothing dated about the writing. The acting, direction and design
are worthy of all praise received. And as for Boyett Ostar
Productions—they deserve special mention for having the courage and
moral authority to bring this stunning work to Broadway in 2007, our
annus horribilis.”
*thomastodd2@yahoo.com
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