Left-Handed Darling: Murder in the World of Carnival Sideshows
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The last date listed for Left-Handed Darling was Saturday August 13, 2011 / 8:00pm.
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Reviews & Ratings
Featured review from HllywdRed Velvet
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It was difficult for me to pay attention during this show. There were parts of it that I enjoyed and found interesting yet other parts that seemed too dialogue heavy. The actress who played the woman without arms was the stand out. I did not care for the delivery of the lead actress who played the little girl. Not sure if that is how she was directed to 'play' the role. Also, the side show leader needed to be creepier. I did find the concept of being an outcast intriguing. There is potential with some of this play. Oh and on a side note, the costume designer did very well with all of the costumes. And so did the person who constructed the puppet head. That was pretty cool.
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This theater is very uncomfortable. The seats are kitchen chairs butted right up to the next chair. There are no arms on them and you sit shoulder to shoulder with strangers. The play was slow, uninteresting, poorly written and horribly acted. ...continued
Quotes & Highlights
“Schoen’s writing is rich and sensual … bawdy freakishness … filled with sideshow characters, and she adds more than one gruesome twist.” —SF Weekly Blog
“Surreal flourishes such as the mysterious puppet entity, Dr Chang, a hauntingly lifelike parasitic twin, Don Seaver’s dissonant soundscape, and a stellar courtroom scene staged by the sideshow performers, create an atmosphere of thoughtful unease that lingers long after the final bow.” —_SF Bay Guardian _
“A psychological tragedy with a tinge of gore, and layers of subtext that stew in the mind long after the spectacle is over… sensational story…strong performances and ornate costumes to rule in Schoen’s extravaganza.” —_The Guardsman _
A Note from Playwright Nikita Schoen:
Thank you for joining us as we step into a different sort of world…
In writing Left-Handed Darling, I got a chance to explore a few areas of history that have always intrigued me, all while adding a murderous twist. The first incarnation of the script was constantly referred to as a kaleidoscopic memory play. It allowed each character to revel in their history, and very raw places of being, while transporting the audience back and forth between Calliope’s realities before and after her life is so irrevocably altered. In the final draft, however, instead of following the thread of gritty violence and exploitation that had inspired the initial script, a personal compassion prevailed, and family tragedy took the more prominent place.
To be different, whether physically or inwardly, in a world that might prefer to compartmentalize and rationalize everything, with neat little labels no less, is an obstacle. To reconcile, to use abnormality as advantage, I believe, is a feat.
My heartfelt thanks to Cameron Eng, Sean Owens and Michelle Talgarow for their assistance in development and belief in me as I wrote my first script, and to the cast for their dedication, not only to the story, but the very words themselves. I’d also love to thank everyone who’s been in on the process from our very first readings.