July 5-27, 2013
convergence-continiuum.org or 216-687-0074
Between Laurel Hoffman’s Jolene and Tracee Patterson’s Medea, presented earlier this summer in Mamaí Theatre Company’s inaugural offering, audiences have been treated to some superb acting and given plenty to think about. Misbehaving middle-aged men have been given two more reasons to watch their backs.
To see a full review of this show, read Bob Abelman's News-Herald review here.
SELF DEFENSE OR DEATH OF SOME SALESMEN has an interesting story to tell. It’s too bad that the author doesn’t do a better job of creating a more stage worthy script. Con-cons production mirrors the script in its inconsistency of effectiveness.
Play held my interest, but was less than emotionally gripping in its almost clinical treatment of the material, including a plethora of theories about motive.
In the end, the "real" Jolene remains as elusive as ever.
To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News
“Self Defense or death of some salesmen” is not for the faint of heart. If you like intense, gritty, hardcore, no-holds-barred theater, then this is the show for you. It is theater designed to make you ponder.
To see a full review of this show, read Mark Horning's review at
Kreitzer's script is loaded with ambition, as it attempts to portray this troubled woman from a variety of perspectives, and the con-con players are often engaging and at times even compelling. But as seen in its final dress rehearsal, the play's fragmented structure combines with a lack of storytelling focus to fashion an experience notable more for its thematic aspirations than its theatrical engagement.
To see a full review of this show, read Christine Howey's review at Cleveland Scene
"Self Defense" is a quirky look at one of America's female serial killers. Carson Kreitzer's script is a lot of buckshot that leaves some relationships dead ended and has trouble deciding its intended tone toward the prostitute who claimed self-defense in the murder of seven customers in the wake of the 1987 Gulf War. Laurel Hoffman makes the central character intriguing but distant to the audience.
Click here to read the complete review at WestLife