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Griffin Theatre Maria Irene Fornes uses a remarkably simple technique to create her beguiling plays. She visualizes a character in extreme detail until this creature of the imagination is as vivid to her as a real person. Fornes then plucks a sentence at random from a novel and uses it as the character's first line of dialogue. I attended one of the workshops where she teaches this technique; it works wonderfully. Once the dialogue starts flowing, it's hard to shut it off. Words just gush from the imagination, expressing ideas and emotions that come as total surprises. The problem is, a lot of garbage comes out with the good stuff.

Fornes merely teaches how to unlock the imagination and produce original dialogue; shaping that dialogue into a play requires another step, a crucial, private step that transforms the raw material into drama. And that is the step that Cindy Lou Johnson skipped when she was creating her sophomoric little play, Brilliant Traces. Johnson must have used Fornes's technique, or one very much like it, for Brilliant Traces begins with a wonderfully startling dreamlike image. As the wind howls outside, someone starts pounding on the door of a remote, ramshackle cabin. I'm a person in serious trouble!'

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A woman's voice cries. Suddenly, the door bangs open and in steps a young woman-wearing a wedding gown.

Brilliant Traces Cindy Lou Johnson Pdf Merge

A figure shrouded in a blanket rises from the bed and confronts her. The play begins. The beginning, steeped in mystery and promise, is original indeed. Outside the cabin, we quickly learn, is an Alaskan snowstorm so fierce that the sky and the ground become a uniform white, which quickly disorients anyone who tries to walk in it. Yet this woman, wearing only a wedding gown and a pair of flimsy satin shoes, has somehow found her way to the only cabin within miles. What happens next?

What happens next is 100 minutes of inane, repetitious dialogue that vacillates between mawkish sentimentality and noisy argument. Listening to this drivel is like being trapped with a babbling drunk, and to make matters worse, the dialogue in Griffin Theatre's production of the play is delivered by two actors who have confused volume with technique. When the dialogue becomes stupefying, you can count on them to start bellowing, as if noise will somehow create the drama lacking in the play. Brilliant Traces might have been saved by top-notch acting. The play received a respectful review in the New York Times when it was mounted in New York two years ago with Piven Theatre Workshop's Joan Cusack and Steppenwolf's Kevin Anderson. But the two Griffin Theatre actors-Eric Zudak and Jean Elliott Campbell-stick too close to the dialogue.

Under the direction of Richard Barletta, they don't come up with any stage business to add depth or coherence to their roles. This quickly reveals the inanity of the play, and Bitter Traces bogs down in phony angst and lame humor. For example, Henry Harry, the man who lives in the cabin, puts Rosannah's satin slippers in the oven to dry while she sleeps for two straight days in his bed. He forgets about them, turns the oven on, and broils them to a crisp. At least that's his first explanation.

In fact, he's still mourning the death of his small daughter (in an accident so ludicrous it verges on a spoof of soap-opera melodrama). It seems the girl used to play with a doll that had tiny little shoes-just like the ones Rosannah is wearing when she arrives. 'I had no choice,' he finally screams at Rosannah. 'I just put them under the broiler and put it on high heat. I cooked them on purpose. I just wanted them out of my sight.'

That's the high point of the action. The rest of the dialogue seems to consist of whatever garbage tumbled into the playwright's mind along with the play's initial arresting image. In fact, some of the early moments look like a very bad imitation of Fornes's plays. In one wordless scene, for example, Henry sits next to the bed, intently watching Rosannah sleep. The scene is a near reproduction of a brief, silent scene in Fornes's Abingdon Square, in which a young woman attracts a longing gaze from the older man she eventually marries. And as though trying to imitate Fornes's talent for poetic condensation, Johnson packs her play with portentous but obscure lines.

Cindy Lou Johnson

I am the prettiest girl you have ever seen,' Rosannah shouts in her sleep. Several times she refers to her fear of insignificance. 'I am not indistinguishable,' she screams at Henry in one of the many outbursts that punctuate the monotony.

And at another point she describes, in mysterious tones, that while driving her car to Alaska, she kept thinking, 'I am moving much faster than this car that carries me. I am traveling faster than sound or light. I thought, surely I will fly right through this windshield. Surely I will hurtle into space.' Brilliant Traces is supposed to be about alienation and the difficulty of connecting with other people. The title comes from a poem by Avah Pevlor Johnson called 'Individuation': 'Let my scars leave brilliant traces, / for my highborn soul seeks its hell- / in high places.'

But the scars that Johnson assigns her characters verge on the ridiculous-they rob the play of any brilliance promised in its first two minutes.

The place is a remote cabin in the wilds of Alaska. As a blizzard rages outside, a lonely figure, Henry Harry, lies sleeping under a heap of blankets. Suddenly, he is awakened by the insistent knocking of an unexpected visitor who turns out to be Rosannah DeLuce, a distraught young woman who has fled all the way from Arizona to escape her impending marriage, and who bursts The place is a remote cabin in the wilds of Alaska. As a blizzard rages outside, a lonely figure, Henry Harry, lies sleeping under a heap of blankets. Suddenly, he is awakened by the insistent knocking of an unexpected visitor who turns out to be Rosannah DeLuce, a distraught young woman who has fled all the way from Arizona to escape her impending marriage, and who bursts into the cabin dressed in full bridal regalia. Exhausted, she throws herself on Henry's mercy, but after sleeping for two days straight, her vigor and combativeness return. Both characters, it develops, have been wounded and embittered by life, and both are refugees from so-called civilization.

Thrown together in the confines of the snowbound cabin, they alternately repel and attract each other as, in theatrically vivid exchanges, they explore the pain of the past and, in time, consider the possibilities of the present. In the end their very isolation proves to be the catalyst that allows them to break through the web of old griefs and bitter feelings that beset them both and to reach out for the solace and sanctuary that only hard-won understanding, self-awareness and compassion for the plight of others can bestow. I read this play about two weeks ago thanks to a friend who recommended it to me, and it is still lingering in my mind, heart, and soul. I think that is how I know I’ve encountered a piece of literature that is different, that is above the rest, that is better than good.

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I couldn’t get the experience out of my body. Brilliant Traces doesn't just make you laugh, it makes you think about life and other humans. It doesn't just make you cry, it makes you sympathize with both characters, and wonder wh I read this play about two weeks ago thanks to a friend who recommended it to me, and it is still lingering in my mind, heart, and soul. I think that is how I know I’ve encountered a piece of literature that is different, that is above the rest, that is better than good. I couldn’t get the experience out of my body. Brilliant Traces doesn't just make you laugh, it makes you think about life and other humans. It doesn't just make you cry, it makes you sympathize with both characters, and wonder what their lives could have been.

It doesn't just make you smile, it leaves you replaying its events over and over in your head. I couldn’t stop thinking about this story. If you enjoy reading drama there is simply NO question at all, this piece should be in your library and found in your hands, time and time again. A friend of mine sent this to me via email saying that he had gotten the rights to do it. I read it while at work and laughed and cried my way through it sitting at my desk. I immediately asked 'Did you send this because you want me to do it with you? The answer is yes hands down' We are now in the middle of rehearsals and this will be the most challenging role of my career thus far.

Rosannah is a whirlwind.she is a mess and not at all well but in a way there is clarity in what she is experienci A friend of mine sent this to me via email saying that he had gotten the rights to do it. I read it while at work and laughed and cried my way through it sitting at my desk. I immediately asked 'Did you send this because you want me to do it with you? The answer is yes hands down' We are now in the middle of rehearsals and this will be the most challenging role of my career thus far. Rosannah is a whirlwind.she is a mess and not at all well but in a way there is clarity in what she is experiencing. I relate to her in so many ways and cannot wait to get on stage with this in November!