Sorry. is funny, bold, ridiculous, shocking, and truthful.
In the physical theater world of Sorry., unwarranted apologizing takes a toll.
Three women teeter - literally? metaphorically?
- at the end of their rope …
until three mythical Furies, who orchestrate the play, rescue them and confront each woman with her life choices.
In the physical theater world of Sorry., unwarranted apologizing takes a toll.
Three women teeter - literally? metaphorically?
- at the end of their rope …
until three mythical Furies, who orchestrate the play, rescue them and confront each woman with her life choices.
THE PLAYERS:
The Women are “of a certain age” and live in different time periods :
Francine: a lawyer in present day, ignores the harassment of a female colleague and reveals she has murdered her own husband, Carl
Lillian: from the 19th Century, terminates pregnancies with plants from her garden, until she’s institutionalized by her husband, Franklin, for being a lesbian.
Persephone: of Ancient Greek mythology, has breast cancer when she’s on Earth, and lives with domestic violence in the Underworld.
The Furies: central to the narrative, The Furies orchestrate the play while attempting to resolve their own conflict with Athena who stripped them of their power to exact vengeance and made them minions of Hades.
The Men: A variety of men in Sorry., including the waiter, are played by one male actor. He is costumed from the waist up, and appears naked below, in a reversal of the commonplace gratuitous nudity expected of female performers. He is a device, but not without an opinion about it.
THE PLOT:
The Furies deliver the women to a seemingly ordinary café. But its upside-down world, ruled by a waiter, is revealed: no matter what the women order, he serves them tea and cake. Initially strangers, the women discover they have one thing in common – they can no longer say, “I’m sorry,” unless they mean it.
The Furies transport each woman to her own world and to each other's, where they bear witness. They also find themselves in absurd worlds, where they drink tea in lockstep, lie in a pile on the floor, get a mammogram, and become surrounded by a sea of men's pants.
The play is cyclical. The opening scene of desperation, as The Women teeter on chairs, hanging from beautiful yellow ribbons, repeats until their is resolution. Or is there?
SYNOPSIS:
How many times do you apologize in a day? A week? Once or twice? Three or four times? Too many to count? How many of your apologies were authentic? Were any of them deflection? Strategy? A cover for how you truly feel?
Sorry. features three “women of a certain age” from different centuries, a chorus of Furies, and one male actor who plays of the men. The Men in Sorry. are an intentional device, highlightingthe “benign,” everyday ways women continue to be subjugated.
Sorry. offers the audacious and radical premise that two simple words, “I’m sorry” have to power to undermine a woman’s sense of self, her power, her place in the world and proposes a new world order where only a sincere apology can be uttered. Despite advancements, women continue to navigate unspoken hierarchies at home and in the workplace. Incidents may not be newsworthy or prosecutable, but the damage is felt. Sorry. illuminates the multiplicity of ways that women defer, adapt, comply, hide, cope, and apologize in what continues to be a man's world. Diving down the rabbit hole of the female apology, Sorry. examines the ease and frequency with which women apologize, and the shorthand/underlying code it has become.
While Sorry. demonstrates the overt and subversive ways women continue to be silenced and controlled, it does not simply condemn or blame men as oppressors. Sorry. also reveals the subtle ways women participate in their own oppression and that of each other.
THEMES: It’s (still) a Man’s World; Women Undermining Women; Aging and Beauty; Abortion; Breast Cancer and Beauty; The Female Apology.
The Women are “of a certain age” and live in different time periods :
Francine: a lawyer in present day, ignores the harassment of a female colleague and reveals she has murdered her own husband, Carl
Lillian: from the 19th Century, terminates pregnancies with plants from her garden, until she’s institutionalized by her husband, Franklin, for being a lesbian.
Persephone: of Ancient Greek mythology, has breast cancer when she’s on Earth, and lives with domestic violence in the Underworld.
The Furies: central to the narrative, The Furies orchestrate the play while attempting to resolve their own conflict with Athena who stripped them of their power to exact vengeance and made them minions of Hades.
The Men: A variety of men in Sorry., including the waiter, are played by one male actor. He is costumed from the waist up, and appears naked below, in a reversal of the commonplace gratuitous nudity expected of female performers. He is a device, but not without an opinion about it.
THE PLOT:
The Furies deliver the women to a seemingly ordinary café. But its upside-down world, ruled by a waiter, is revealed: no matter what the women order, he serves them tea and cake. Initially strangers, the women discover they have one thing in common – they can no longer say, “I’m sorry,” unless they mean it.
The Furies transport each woman to her own world and to each other's, where they bear witness. They also find themselves in absurd worlds, where they drink tea in lockstep, lie in a pile on the floor, get a mammogram, and become surrounded by a sea of men's pants.
The play is cyclical. The opening scene of desperation, as The Women teeter on chairs, hanging from beautiful yellow ribbons, repeats until their is resolution. Or is there?
SYNOPSIS:
How many times do you apologize in a day? A week? Once or twice? Three or four times? Too many to count? How many of your apologies were authentic? Were any of them deflection? Strategy? A cover for how you truly feel?
Sorry. features three “women of a certain age” from different centuries, a chorus of Furies, and one male actor who plays of the men. The Men in Sorry. are an intentional device, highlightingthe “benign,” everyday ways women continue to be subjugated.
Sorry. offers the audacious and radical premise that two simple words, “I’m sorry” have to power to undermine a woman’s sense of self, her power, her place in the world and proposes a new world order where only a sincere apology can be uttered. Despite advancements, women continue to navigate unspoken hierarchies at home and in the workplace. Incidents may not be newsworthy or prosecutable, but the damage is felt. Sorry. illuminates the multiplicity of ways that women defer, adapt, comply, hide, cope, and apologize in what continues to be a man's world. Diving down the rabbit hole of the female apology, Sorry. examines the ease and frequency with which women apologize, and the shorthand/underlying code it has become.
While Sorry. demonstrates the overt and subversive ways women continue to be silenced and controlled, it does not simply condemn or blame men as oppressors. Sorry. also reveals the subtle ways women participate in their own oppression and that of each other.
THEMES: It’s (still) a Man’s World; Women Undermining Women; Aging and Beauty; Abortion; Breast Cancer and Beauty; The Female Apology.