It is strange when a vision of the horrible can be held as a thing of beauty.
It is our Greek tragedy. Samara has that quality.
https://www.nytimes.com/2017/04/16/theater/samara-review-steve-earle.html
Even the air aches with mystery in Richard Maxwell’s “Samara,” a sense of life as a teasing and unresolvable riddle.
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It’s as if Mr. Maxwell had elicited the unspoken thoughts that throb within a vintage western, with his characters giving voice to the feelings you may experience when watching such entertainments in an abstracted, melancholy mood. This impeccably realized show — whose first-rate creative team includes Palmer Hefferan (sound), Junghyun Georgia Lee (the funky fairy-tale costumes) and Annie-B Parson (choreography) — gives us story and subtext in one breath.And just so you know, this play does not conclude when its plot comes to its end. There’s a masque-like dance such as traditionally followed Elizabethan performances, and a subsequent postscript that’s both visual and verbal, a contemporary account of traveling through open spaces. Such is this show’s strange magic that you may well feel it’s your own memory that’s speaking.
