As FITA: The Stage Play curtain has now closed , AtticSecrets brings to you all the fantastic positive reviews this play has received during it stint.
We ‘ d just like to say to Christopher and cast what a wonderful experience we have had with you, thanks for your hard work and thank you for making us part of it all.
Through your hard work and determination you truly have earnt these rave reviews :
“The production is a pretty compelling piece of pop culture. The drama is suspenseful, arousing, disturbing, and ultimately satisfying. The novel’s many fans will certainly be pleased; those unfamiliar with Andrews’ works will likely be drawn in, as well.
Matthew Collier‘s set design is of particular note, as it creates the tensely claustrophobic attic that has the audience in intimate connection with the performers. As we hear the key latch the door shut, a palpable shiver of fear is felt.
Bentivegna plays up that intimate tension well, resulting in tautly played performances and a show that moves well through it increasingly twisted plot. He also has assembled a strong cast that carries it out with conviction.
Hollingsworth finds enough nuance to straddle the line between victim and villain with the skill of a high-wire artist.
Levi Hood and Kali Russell
Together the pair create a chemistry that is as unnerving as it is erotic.
Mary Pauley is downright frightening as the grandmother Olivia. Starkly strict, sadistic and tightly wound, with a streak of puritanical religious zealotry, she presents a formidably evil presence.
The two young twins are effectively played, at points even heartbreakingly so, by Edward Boudreaux IV and Daisey Mackey.
Through a quiet underplaying, she tackles the toughest role with alacrity, making the horrifying story itself believable and, as the recovering victim, finding the humanizing aspects of her family members.”
Ted Mahne – Times
“They have premiered a Flowers in the Attic that recreates the spell of the original.
Micheal Martin , NOLA Defender
Pauley is one of our greats, though – she freezes her face in a death mask of rage – as is Jen Pagan as the narrating older Cathy, who has to deliver the reams of wistful exposition necessary to make the story play onstage instead of on the page.
Hollingsworth, one of our about-to-be-greats, takes Corinne, the sole three-dimensional character – still wildly implausible and internally contradictory, sure – and makes a meal of her, bite by delicate bite.
The two younger Dolls, Edward Boudreaux IV and Daisy Mackey, whose needs and ailments are timed just right so as to prevent their older siblings from making an escape, are startlingly good. These are real performances from believable children, not mere plot-device place holders.
“The production handles touchy subject matter in a delicate way. The strong acting and direction push the story away from shocking territory into a more thoughtful though troubling place. ”
Tyler Gillespie – Gambit
“Christopher Bentivegna and the entire cast and crew have left a hauntingly beautiful legacy not only for Virginia s work but also for the stage play itself ”
– Lorraine Elgar , AtticSecrets