On Sunday Sarah, my grandmother and I went to see a play called “Blood And Honey”. The performance was held at the Linehart Theater, a decent if modest space in a theater rehearsal facility right below Astor Place. We were all especially excited as it was the first time we’d get to see our friend and gifted thespian Tamara Bechara (yep, that’s her real name) perform.
I say perform rather than act, as “Blood and Honey” wasn’t the staid drama I’d expected. Instead, it was a meditation on various issues related to freedom, war and our complex relationships with tragedy, expressed through a mix of dance and monologues. I won’t pretend to be a drama critic, and I know even less about dance, but the grace and athleticism of the performers, and the occasional poignancy of the speeches was definitely impressive and thought provoking. I was especially impressed by the fact that some of the most touching lines were delivered while the actor in question was tumbling or performing some other strenous activities. Notice that I said actors…although the performance was was heavily focused on movement, the auteur Elizabeth Mozer had decided to cast actors rather than dancers in all of the roles. I think the efficacy of the actor’s spoken parts and facial expressions in communicating the play’s themes validated that choice.
Tamara was marvelous, of course, although I had a few surreal moments watching someone I’ve bummed around with out on stage moving impressively and speaking with powerful emotion. I’ll have to work on that before she’s rich and celebrated. Tamara also inspired my favorite part of the performance, when all of the actors cast themselves away from each other and then felt their way back together with their eyes closed. It reminded me of something out of Master Killer. Oh crap, there goes that attempt at being cultured.
Holy run on sentences, good thing this is only a blog…
p.s. The only Tamara related link I could find (that’s her in the picture).