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Ep 21 - Rabbit Hole by David Lindsay-Abaire [2007 Winner]

Released Sunday, 20th February 2022
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In this episode, Randy and Tyler discuss the 2007 Pulitzer Prizewinning Play, Rabbit Hole by David Lindsay-Abaire.

CONTENT WARNING: Death of young child, grief, suicide, drug abuse

We were thrilled to have Julie Arnold Lisnet with us as a special guest to discuss this play.

Like all of our podcast episodes, this episode contains a lot of spoilers. If you have yet to read or see this play, please be aware of this.

Corrections: During this episode, Randy mentioned the incorrect years of Ten Bucks Theatre's productions of One Flew Over the Cuckoo's Nest and Rabbit Hole. Those were performed in 2011 and 2012, not 2010 and 2011.

From Stageagent.com: Becca and Howie Corbett have a picture perfect family life in the suburbs of New York until a random, tragic accident takes the life of their four-year old son. Soon after, Becca’s younger, irresponsible sister, Izzy, announces that she is pregnant: there will now be a new child in the family. As Becca and Howie grow apart, Becca’s mother, Nat, badgers Becca about her grieving process, and Jason, the young driver who killed their son, continually shows up to ask forgiveness, the group is on a bumpy road to healing with no road map in sight. Rabbit Hole delves into the complexity of a family navigating deep grief, and learning what it means to live a fruitful life when things fall apart.

******* IN OUR NEXT EPISODE *******
Join us as we discuss the 1928 winner of the Pulitzer Prize for Drama, Strange Interlude by Eugene O'Neill.

From Encyclopedia.com: The play covers a period of twenty-five years in the lives of mostly upper-middle-class East Coast characters. It centers on Nina Leeds, a passionate, tormented woman whose fiancé was killed in World War I and who spends the remainder of her life searching for an always-elusive happiness.

This is a very long play, lasting over five hours in performance. The story is not especially complex, and the length of the play derives from O'Neill's revival of two theatrical devices that had fallen out of use for nearly a century: the soliloquy, in which a character alone on the stage speaks his or her thoughts aloud, and the aside, which enables characters to reveal their thoughts to the audience but not to the other characters on stage. These devices, which O'Neill employed at length, enabled the playwright to probe deeply into his characters' motivations. The soliloquies and asides reveal the discrepancies between what the characters say and do, and what they really feel.

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