Mar 07, 08
Read in January, 2003
This play really frustrates me. Gilman chooses an incredibly simplistic view of almost everything she purports to address—stalking, the skewed ways in which one gender perceives another, making life changes not by choice. Stalking, in particular, seems to me a *lot* more complicated than this, with much deeper effects on its object (emotional, not concrete—I suppose she gets the extreme of the concrete down pretty well). She could have solved this by developing Tony earlier, allowing them to spend a little more time together before we understood his instability—that would have allowed us to know Theresa as a character rather than a stalked archetype as well. But Gilman is only exploring ideas, and rather uninteresting ones, rather than telling a story.
But she's a pretty good writer of dialogue. Hence the second star.