Worse still so many accents are used by the cast that it is difficult to understand a good deal of what is said. Just as problematic is that all of the action (except for the interruptions by the Ghost of Chinua Achebe) takes place behind a gauze curtain and with Ma Luo always speaking over a microphone, the play is very remote. All of these theatrical devices tend to sabotage what might have been an acceptable update of Conrad’s novel. The minimal setting by Elena Vannoni and the lack of slides or video to establish places undermine the Chinese and African milieux. Except for a moment when the stage is bathed in yellow/orange, and a moment in blue, the lighting by Danielle Elegy is so pale behind the gauze curtain as to washout the live actors.
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"If each moment hadn’t been so beautifully crafted with video, light and sound, it would be easier to discredit the work of Siting Yang and the many collaborators aiming to make meaning from found sources and a deep sense of one’s history. Director Rakesh Palisetty sources such heavy content in a way that is deliberately striking."
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"With intelligence and creative flair, 'Sky of Darkness' works to change our own perspectives by placing before us an important story that we might otherwise fail or even refuse to see."
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