Bill Marx weighs in on the Theatreworks production of Homebody/Kabul, and his take also looks to the script's production history for critical cues.
However, Marx is more interested in the external influences of the play's journey to Boston. He attributes much of the allure and excitement of earlier productions to how we were as a people back after 9/11.
"Still, plays that live by the news die by the news. And Kushner's uncanny timeliness mitigated signs that his play was only spinning predictable, melodramatic variations on well-worn political themes."
Interesting, in light of Ed Siegel and Terry Byrne's reviews which I posted about below this. Now, Mr. Marx is having a rejection of the play as well. Perhaps people like me, Larry Stark, and a host of others who have had a very positive reaction to the play, are just having the same catharsis which those reviewers had upon first experiencing the play closer to 9/11.
Mr. Marx's review now makes me think that Ed Seigel was really having a visceral reaction to a realization that the play he thought was there, may not be there. I don't mean the play is really bad. Good Tony Kushner is better than 95% of what is out there. But Ed Siegel seems to be wanting an experience that existed in a place and time for Ed Siegel.
It seems unfair to want to punish a production for not being that moment.