Science and Religion Collide in Controversial Drama Agnes of God
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The last date listed for Agnes of God was Saturday April 16, 2011 / 8:00pm.
Currently at Greenhouse Theater Center:
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Starting in 1926 and spanning 80 years, moving between Poland and America, Our Class is an epic play that's profoundly affected audiences and critics since its premiere at London's National Theatre. Ten Polish classmates -- five Catholic and five Jewish -- grow up over the course of the story. Their lives take dramatically unexpected turns as their country is torn apart by invading armies, first Soviet, then German, then Soviet again. Friend betrays friend and violence quickly escalates, reaching a crescendo that forever haunts the survivors. Based on true events in the Polish town of Jedwabne, Our Class is a groundbreaking play that courageously examines loyalty and treason, individual bravery and collective cowardice and the actions that ripped apart a small community during the Second World War. Learn More
Reviews & Ratings
Featured review from Goldstar Member
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Very well done. The interplay between religion and atheist was brilliant - as it showed the pros and cons between both. And it left the audience member ping pong back and forth on which to support. One area that was a little too intense was the loud volume of actors voices - perhaps I'm too sensitive, but I thought they could have toned it down a bit (i.e., less dramatic). Recommend watching.
Quotes & Highlights
- <em>Agnes of God </em>was adapted into a film in 1985, starring Jane Fonda, Anne Bancroft and Meg Tilly. The stage play contains more dialogue than the film and is restricted to the three main characters. It is considered a demanding play for actors, due to the range of emotions displayed and the fact that the three actors carry the entire drama.
By John Peilmeier
Directed by Jacob Christopher Green
Summoned to a convent, Dr. Martha Livingstone, a court-appointed psychiatrist, is chared with assessing the sanity of a young novitiate accused of murdering her newborn. Miriam Ruth, the Mother Superior, determinedly keeps young Agnes from the doctor, arousing Livingstone’s suspicions further. Who killed the infant and who fathered the tiny victim? Livingstone’s questions force all three women to re-examine the meaning of faith and the power of love, leading to a dramatic, compelling climax. A hit on Broadway and later on film.