The Sound and the Fury • Press
- The New York Times May 21, 2015
- TimeOut New York January 20, 2015
- Entertainment Weekly May 21, 2015
- Theatermania May 21, 2015
- Exeunt Magazine May 21, 2015
- New York Post May 21, 2015
- Theater Pizzazz! May 21, 2015
- Huffington Post May 21, 2015
- The Bergen Record May 22, 2015
- The Advertiser March 12, 2010
- The Australian March 15, 2010
- Expresso-Actual January 24, 2009
- Publico January 20, 2009
- The New Yorker May 26, 2008
- The New Yorker May 5, 2008
- The New York Times April 30, 2008
- Time Out New York April 30-May 6, 2008
- Time Out New York April 30, 2008
- The New York Sun April 30, 2008
- The International Herald Tribune April 29, 2008
- Backstage April 29, 2008
- Variety April 29, 2008
- The New York Times April 27, 2008
- Variety November 30, 2007
- The Brooklyn Rail April 2008
- The Village Voice March 4, 2008
- Variety November 30, 2007
Fury, Again
By Joe Dziemianowicz
Brush up on William Faulkner’s notoriously complex novel before seeing “The Sound and the Fury” as envisioned by the Elevator Repair Service.
Even if you reread the source material about the dysfunctional declining Southern Compson family, the show can be a challenge to follow. In one scene, a character’s played by a man. In the next, by a woman. Gender’s fluid. And what’s up with the banjo-infused dance breaks?
It’s par for the course for this experimental company, known for verbatim literary adaptations. In this one, first seen in 2008, 12 actors take turns reading from the book, saying the dialogue and playing scenes. At two hours and 15 minutes, it’s brief compared to the seven-hour “Gatz,” in which “The Great Gatsby” got the troupe’s treatment.
Time matters, since Benjy, the mentally disabled narrator, has no notion of it. The show is highly theatrical even though it’s not all that dramatic. In the end, the troupe’s singular take makes it worth your time.
Excerpt from “Fury, Again” by Joe Dziemianowicz. Full article in print only.