Angst-driven love story loses teeth after first bite
There’s something about watching Downton Abbey that is even more interesting than watching Mad Men. Seeing Don Draper seek out personal pleasure at all costs is fairly relatable to us 21st centurians, but the people of early 20th century England are fascinating in that they seem to value self-sacrifice and honor above their own desires. What a difference a few generations has made. For a good read about it, try Chicago’s very own Laura Kipnis’ Against Love: A Polemic. Like Craig Wright’s Orange Flower Water, it’s a pointed commentary on the schizoid break that occurs when we try to reconcile our ideals of self satisfaction with responsibility. Kipnis sees adultery sympathetically—a covert culture war waged by people who have the ultimate buyer’s remorse. Orange Flower Water seems at least partly in tune with Kipnis as it messily breaks apart two couples to make a new one. It’s too bad then that, despite all the (sometimes) pointed insights into the secret regrets of our binary society, it loses its nerve and a chance to make a real statement.
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As recently as 2010, the famous
In the classical version of this story, the Danaides at the center of Mee’s Big Love are punished for their misdeeds (that is, killing their husbands on their wedding night) with the task of filling a tub from which the water eternally empties. This has entered popular parlance as a symbol of trying to complete a futile task, but after watching Big Love, I can think of another interpretation: that of the vessel of the self forever emptying its contents into another as an act of eternal love. If that sounds twee, don’t worry, Big Love has some equally tart things to say about love’s demands, caprices, and the roles both men and women feel compelled to play or reject. Only loosely following the plot of The Suppliants by Aeschylus, this modern interpretation takes the fantastical and makes it a distorted mirror on humanity in the way the only the best fables can.