Love, Loss and What I Wore - Theatre reviewsBy Nora and Delia Ephron. The stage resembles the set of Vagina Monologues , but this is deceptive. This is not Vagina Monologues times five, rather it is far more innocent and far less insightful and revolutionary. This journey revisits the transition from girlhood to maturity with stops for such moments as fitting the first bra, getting ready for the prom, wedding dress panic and the universal struggle to accessorize. What is neat about the play is the variety — tall and short women, thin and fat women, white and black — each with her own plusses and minuses, yet all sharing recognized moments and concerns. Kudos to a fine cast where the actors swiftly and professionally interchange their shifting roles.
Nora & Delia Ephron: Love, Loss & What I Wore
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Show Information. In my book, finding some time in a day of buying stuff to think about the meaning of stuff in our lives and relationships is a very good idea. Collectively, it's rather akin to a series of good "Talk of the Town" pieces in the New Yorker. A reasonably diverse array of female lives are here represented, but the preponderance of the material features women both urban and urbane. The one standout addition is a short, hilarious riff on Birkenstock sandals. There's a lot of comedy, some well-timed tears, and not much that's surprising. All in all, it's a well-honed niche product, perfect for ladies' nights out.
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Written by Nora and Delia Ephron and based on the book by Ilene Beckerman, the show is a scrapbook of stories about unfortunate prom dresses, the traumatic lighting in fitting rooms, high heels, short skirts and the existential state of having nothing to wear. In old-school parlance, legit is shorthand for the legitimate theater. The show is performed by a rotating cast of five. For the first four weeks of the run Ms. You were expecting horizontal stripes?
It is organized as a series of monologues and uses a rotating cast of five principal women. The subject matter of the monologues includes women's relationships and wardrobes and at times the interaction of the two, using the female wardrobe as a time capsule of a woman's life. Later the same year, the show was produced Off-Broadway as an ongoing commercial theatrical production at the Westside Theatre in New York, where it continues to run as the second-longest running show in the theatre's history. The production and its cast received positive critical attention. The show has been produced on six continents and more than eight countries.
The rest is fabulous. The title comes from the book of the same name by Ilene Beckerman. This is not a story about clothing or accessories. It is a layered and complex recital of women in all stages of life. Loosely narrated by Gingy the captivating Tine Daly , the text flows between the five actors like an appetizer making the rounds at a night out with the ladies table. These women share the stories, the stage and the responsibility for giving us an evening that has lasting effect. Gingy has a set of simple renderings, starting with her Brownie uniform and ending with her latest black dress with sleeves, and an accessory recommended by her granddaughter.