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
- New York Daily News May 22, 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
- 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
The Sound And The Fury (April Seventh, 1928)
by Joao Carneiro
In a living/dining room that remains throughout the show, the memories of Benjy go by, those of a 33 year-old man, mute, with the mind of a 3 year-old. In other words, an idiot. Yet what the actors of New York’s Elevator Repair Service, directed by John Collins, have done was to display the words of Faulkner’s text – the first section of his novel The Sound and the Fury. The sentences are organized according to a complicated logic that articulates time and space. And to display is also to create images for the confrontation between an innocent – this is the meaning of “idiot” in Faulkner’s novel – and the world. Everything that’s written is said in the show, everything is read, everything is played out. What ERS proposes, under the guise of a show, is the dream of every reader: to really see what is written. For this to be a vision is inevitable, each reading constructs its own images. Those created by this company are a perfect and unusual example of what be can be theatre rooted in text.