Hanna(h)
stalks over the main stage with murder in her eyes and a hatchet in her hand.
Her insane scowls drift into the full-house audience at the Boston Playwright’s
Theatre demanding answers, two sets of what will become seat-squirming,
unsettling answers. Each set belongs to a very different Hanna(h). First, there
is the Puritan Hannah Duston, mother of eight children, whom the Abenaki
Indians took hostage in 1697 during a raid on the town of Haverhill. Second,
there is present day Hanna, an international career journalist recently
returned from Afghanistan and now dealing with the murder of her journalist
husband. This Hanna directs obscenity-laced barbs at friends and antagonists
alike as she investigates her seventeenth- century namesake with intellectual
stubbornness and a developing sense of intimacy. Celeste Oliva plays both Hanna(h)s seamlessly,
so seamlessly she changes clothes and personalities in front of us, her
ego-altering facial expressions successfully suspending any notion of pedestrian
disbelief. For more of my review of Reconsidering Hanna(h) go here: http://dougholder.blogspot.com/2014/09/reconsidering-hannah-by-deirdre-girard.html
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