JEFFRY KAPLOW
| Nationality: | n/a |
| Literary Agent: *: | n/a |
| Email: | n/a |
| Website: | n/a |
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Plays by Jeffry Kaplow
Saraband |
| 1st Produced: | 2009 | |||||
| Company: | - | |||||
| 1st Published: | - | ISBN | - | |||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||||
| Genre: | - | Adaptation | Parts: | Male | - | Female | - |
| Parts Other: | - | |||||
| Notes: | By Ingmar Bergman, adapted and translated by Ulla Svahnström Kaplow and Jeffry Kaplow | |||||
| Synopsis: | This is a stage version of Bergman's last movie, released in 2005, which was itself a sequel to his Scenes from a Marriage, a 1973 film and six-part television series (of which a version by Joanna Murray-Smith was staged at Coventry by Trevor Nunn last year). The first film was about the stormy marriage and divorce of lawyer Marianne and her academic husband Johan and here the story is picked up twenty years later. This 'sequel' stands up on its own; knowledge of the earlier part of the story may add resonance to the relationship but is certainly not necessary. Marianne has had a second marriage, to a glider pilot who has disappeared into the blue. One of her daughters with Johan has emigrated to Australia; a second is being cared for in a home where she does not even recognize her mother. Johan has been on the staff of an American university but, inheriting money, has returned to a house beside a lake in Sweden with a family cottage nearby where Henrik, his recently widowed son from a marriage before that with Marianne, is living with daughter Karin. Most of this is explained in an opening exposition from Marianne. This is a play in which a number of episodes, especially those from the past, are described rather than enacted, sometimes it feels at too great a length, especially when most of the action is in a succession of compact scenes. Marianne has felt the need to re-establish contact with Johan and, although he has rejected the idea, she comes to visit. Eileen Nicholas gives her a gentle tolerance with a hard-core unbudgeability that fits a lawyer specialising in divorce. This seems to be a woman who knows herself even when she claims she doesn't. - Howard Loxton, British Theatre Guide | |||||
