![]() ![]() Leslie is killed in the ensuing gunfight, by police bullets. The play ends with news of the hanging in Belfast and when the Gardaí attack the brothel. The hostage of the title is "Leslie Williams", a young and innocent Cockney British soldier taken at the border with Northern Ireland and held in the brothel, brought among the vibrant but desperately unorthodox combination of prostitutes, revolutionaries and general low characters inhabiting the place.ĭuring the course of the play, a love story develops between Leslie and Teresa (a young girl, resident of the house), who promises never to forget him. The action of the play is set in a very odd house of ill-repute somewhere in Dublin, owned by a former IRA commandant. Like the protagonist of the " The Quare Fellow", the audience never sees him. "The Hostage" depicts the events surrounding the execution of an 18 year old IRA member in a Belfast jail, accused of killing an Ulster policeman. Currently a Core Company playwright member at ACT in Seattle, 2018."The Hostage" is a 1958 translation to English, of the Gaelic play An Giall, by its author, Brendan Behan. In January 2019, Bloomsbury will publish SELECTED WORKS BY YUSSEF EL GUINDI. OUR ENEMIES: LIVELY SCENES OF LOVE AND COMBAT is published in the anthology FOUR ARAB AMERICAN PLAYS published by McFarland Books. TEN ACROBATS IN AN AMAZING LEAP OF FAITH, COLLABORATOR, THREESOME, and THE TALENTED ONES have been published by Broadway Play Publishing Inc. Weekly's Excellence in Playwriting Award for 2006), PILGRIMS MUSA AND SHERI IN THE NEW WORLD, JIHAD JONES AND THE KALASHNIKOV BABES, SUCH A BEAUTIFUL VOICE IS SAYEDA and KARIMA’S CITY have been published by Dramatists Play Service. His play BACK OF THE THROAT (winner of L.A. Other productions: OUR ENEMIES: LIVELY SCENES OF LOVE AND COMBAT was produced by Silk Road Theater Project and won the M. ![]() El Guindi's most recent productions include THE TALENTED ONES at Artists Repertory Theatre in Portland (Santa Barbara Independent Indy Awards) THREESOME at Portland Center Stage, ACT, and at 59E59 (winner of a Portland Drammy for Best Original Script) PILGRIMS MUSA AND SHERI IN THE NEW WORLD (winner of the Steinberg/American Theater Critics Association's New Play Award in 2012 and the 2011 Gregory Award) also at ACT, and at Center Repertory Company (Walnut Creek, CA) 2013 and LANGUAGE ROOMS (Edgerton Foundation New American Play Award), co-produced by Golden Thread Productions and the Asian American Theater Company in San Francisco at the Wilma Theater in Philadelphia (premiere), and at the Los Angeles Theater Center. He is the recipient of many honors, including the Steinberg/ATCA New Play Award and the 2010 Middle East America Distinguished Playwright Award. El Guindi holds an MFA in playwriting from Carnegie Mellon University and has worked as resident playwright at Silk Road Theatre Project literary manager for Golden Thread Productions and playwright-in-residence at Duke University. “El Guindi’s dialogue and humor are sharp enough to cut.” -Thom Taylor, Spectator Magazineīorn in Egypt, raised in London, and now based in Seattle, Yussef El Guindi’s work frequently examines the collision of ethnicities, cultures, and politics that face Arab-Americans and Muslim Americans. HOSTAGES ranks as compelling and worthy theatre.” -Martin Denton, Echoing, in different ways, works by Sartre and Beckett, El Guindi explores how we survive on our own and how we survive with each other what makes us ourselves and what makes us - and prevents us from being - free. “HOSTAGES is about our individual humanity and the related concept of fellowship. “This is must-see theatre, for if the role of theatre is not solely to entertain but to provoke contemplation about our humanity - even if it means assaulting our senses, sensibilities, and assumptions and creating discomfort - then HOSTAGES fits the bill … It is a measure of El Guindi’s genius and craftsmanship that he pulls the audience aboard the excursion.” -Herbert Paine, Broadway World Review Kidnapped by terrorists, both are college professors, who had been teaching at a foreign university … The starkly different personalities of the two are revealed dialogue is incredibly witty and full of gallows humor, yet psychological insights abound … Enlightening without being didactic, outstanding creative theatre.” -Marie Bonfils, Drama in the Hood “As the play opens two blindfolded early-middle-aged men are chained to an old-fashioned steam radiator in an otherwise empty room.
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