Running Away From The One With The Knife
Opening Night: March 10, 2015
Closing: March 28, 2015
Theater: The Chocolate Factory
“Running Away From The One With The Knife” is a play about suicide and religious faith. It’s a memorial and an exorcism for a woman named Christina; it’s the story of her sister, and the monk who is their friend. And none of them are particularly reliable. It’s a stark, slapstick death, in a dreamed kitchen, between half-heard pasts and the present retelling. The play is terse, allusive, full of monologues, repeated short scenes and hastily-scrawled signs that comment on what’s happening. How are you? Okay. Yeah? I think so. I think so!
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March 17, 2015
Percolating coffee drips into a pot at the front of the Chocolate Factory stage. Boiling grounds are a familiar scent, burbling water a familiar sound, the sort of routine you reach for when the world seems inexplicable, unmoored. Sarah (Juliana Francis-Kelly), a character in Aaron Landsman’s “Running Away From the One With the Knife,” is the sort of woman who clings to habit. A successful lawyer, she likes to clean, to organize, to control. “I do my billing in six-minute increments,” she says. “I’m fastidious about my time so I can measure my life.” But she can’t control her volatile sister, Christina (the playwright Kate Benson), who has made several attempts at suicide. Sarah tries to keep her from harm, ordering an electric oven for her house and hiding the knives. It isn’t enough. After Christina’s death, Sarah tries to bond and to pray with Guillaume (James Himelsbach), the monk cum building super who also tried to save Christina.
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