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Es Devlin loves a glass box.
Es doesnt design plays, the director Lyndsey Turner toldThe New Yorkerin 2016.
Or, at least, she doesnt design the locations in which theyre set.
Instead, she designs the ideas, the thought structures, the systems in which the characters operate.
It can spin on a revolve, and its walls can go clear or opaque depending on the light.
People and things appear inside it as if by magic (in reality, through a trapdoor).
How well do any of us know our neighbors?
How safe and solid are any of our walls?
You bet they will.
Will our beleaguered protagonist fail to defend himself almost every time he gets the opportunity?
The man can barely get a sentence out.
Interestingly,The Hunts issue with behavioral believability only applies to its adults.
The children are more well observed.
But as soon as its released into the world, the storys grown-ups become cogs in a plot machine.
Lucas just stares gravely into the middle distance.
I dont usually quote Nancy Reagan, but just say no!
Theyre just … not that scary?
Although Lucasisin fact a member of this community, Menzies doesnt quite seem to be.
He can easily accesspained and thoughtful, but he also comes across as too articulate by a mile.
Theres a reason he often plays aristocrats theres something naturally patrician about him.
Do you know who your daughter is?
Why are you lying about my father?
he screams at Clara herself, in the town church, surrounded by the whole community.
With Marcus in the picture,The Hunts final movement plays more compellingly than the rest of the production.
It feels like a missed opportunity, the last on a long list.
The Huntis at St. Anns Warehouse through March 24.
