14 - 30 November 2014

THE SHAPE OF THE TABLE

The Shape Of The Table describes the transition of an unnamed Eastern European Soviet satellite state from totalitarian rule towards democracy. The title refers to the discussions between the Americans and the Vietnamese during the Vietnam war, as the delegations spent months literally discussing the shape of the negotiating table (and who would sit where). Throughout there are a variety of negotiations, but power shifts inexorably, changing (as it were) the shape of the table and the relative positions of those who meet in the room.

PENTECOST

Set in an abandoned church in a similarly unnamed Eastern European country, Pentecost brings together art and politics. Oft subjugated, the country (and the church) has seen various conquerors and religions leave their mark, the last being the Soviet-style government that only recently collapsed. The native art curator Gabriella Pecs brings British art historian Oliver Davenport to the church, suggesting that behind its walls is a painting that appears to be by Giotto. As the play progresses, the walls come slowly crumbling down, and the painting is revealed, and evidence for and against its authenticity is weighed. There is also a considerable clash of cultures surrounding the debate as others come to the church: local priests, tourists, and then a motley assortment of refugees from many of the world's trouble spots who wind up taking everyone hostage in an effort to get asylum. Edgar presents a tantalising puzzle, the answers changing as more pieces are revealed.

THE PRISONER'S DILEMMA

The Prisoner’s Dilemma commences in 1989 at a conference of politicians, diplomats and academics discussing contemporary issues. A group of half a dozen people is being guided through a session of role-play based on Game Theory, including the famous Prisoner's Dilemma. This also allows the protagonists to express their own political and moral views and sets the scene for the ensuing three hours. The contrast between the theoretical debates of intellectuals and hard life on the frontline is immediately brought out as a naked man with a plastic bag over his head is wheeled onto the stage and introduced as a representative of one side in a Baltic-style Russian conflict. His life is saved as he is used as a go-between in a complicated diplomatic manoeuvre.

REVIEWS

⭐⭐⭐⭐
The Guardian
“All three plays are being revived by North Carolina’s Burning Coal theatre company and, on the evidence of the first, I can only urge anyone with an interest in public affairs to see them.”

⭐⭐⭐⭐⭐
Indy Week
“These wonderful American actors have dispelled the belief that audiences in this country can’t cope with the theatre of ideas, political theater or large casts. They’ve taken a complicated, difficult and lengthy play by the throat and made sense of it.”

Triangle Arts and Entertainment
“Jerome Davis, artistic director of Burning Coal Theatre Company and director of The Iron Curtain Trilogy, has undertaken an Herculean task and accomplished it very successfully. The simple mechanics, scene changes, line delivery, character placement, and movement are artistic and precise. Whether the stage becomes suddenly flooded with arms-toting marauders or emptied down to two irreconcilable opponents, the action is clean and hasty although still evoking chaos.”