PARADISE
by Glyn O'Malley
January 25 - February 25, 2007
| The Late Glyn William O'Malley |
|
|
O'MALLEY--Glyn William 55, playwright, director and educator, died unexpectedly at St. Vincent's Hospital, in New York City, after suffering a heart attack on November 14, 2006. Born in Providence, RI, he authored 19 plays. His most recent plays were his "war cycle" New York premieres: Paradise (Kirk Theatre, 2005), A Heartbeat to Baghdad (The Flea, 2004) and Concertina's Rainbow (Cherry Lane Alternative, 2001). His plays have been seen in NYC at various theatres including Playwright's Horizons, Lincoln Center, The WPA Theatre and the Rattlestick. He directed over 50 productions in major theatres around the US and Europe, including the world premiere of Albee's Men and Albee's Women. He was Associate Producer for the English Speaking Theatre of Vienna for 12 years and the former Literary Director for the Edward F. Albee Foundation. Having taught at many universities, colleges and programs, he was currently the Director of Education at the Cherry Lane Theatre Institute, as well as a professor at Lehman College/CUNY and Fordham University. His most recent play, Goodnight Mr. Jefferson, is currently under option for production.
--The NY Times |
Directed by David Cecsarini
Featuring Leah Dutchin, Emily Trask, Mary MacDonald Kerr, Luke Leonhardt, Joseph Fernandez
Leah Dutchin (Fatima) and Joseph Fernandez (Omar)
Emily Trask (Sarah) and Leah Dutchin (Fatima)
|
I wrote PARADISE in 2002: a 50-minute play that would tour high schools in Cincinnati and tell the story of titanic clash of forces at play. A storm of protest broke out, led by The Council of American Islamic Relations of Ohio and the play stopped from ever reaching production. I expanded the play into a 90-minute one for adults. Why persist with the play when it is a forgone conclusion that it will always be viewed politically? Theatre is not very useful in advancing shifts in perception when it only seeks to reach those in agreement with it. Drama should be dangerous whether it's the story of an American family or a Palestinian and an Israeli teenage girl.
By the time the play opened in New York City, there seemed to be a light on the horizon with the Palestinian elections and Israel's willingness to broker once again - one cautious step at a time - a two-state solution. It remains to be demonstrated that the Palestinian leadership can, in fact, dismantle the infrastructure of Hamas, The Martyr's Brigade, Islamic Jihad and other groups that gained so much power under the reign of Arafat. It remains to be seen how much of the Occupied Territories, held since the 1967 war against Israel will be returned by them to the Palestinians.
Trapped between these two monolithic hanging questions are the people propelled by historical, religious, and national forces of entitlement. It is these I am interested in, and it is they who make up the characters in my play. I have not found the answer in my long sojourn through the shifting, sharp, unforgiving terrain of this world. I have dug beneath the headlines in creating them, and only found more questions. These questions are the property of us all. How they are answered will determine what happens next.
-From the Playwright
Glyn O'Malley
|
