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A visceral blend of classical mythology and real life stories told by street kids, Naomi lizuka's Polaroid Stories journeys into a dangerous world where myth-making fulfills a fierce need for transcendence, where storytelling has the power to transform a reality in which characters' lives are continually threatened, devalued and effaced. Not all the stories these characters tell are true; some are lies, wild yams, clever deceits, baroque fabrications. But whether or not a homeless kid invents an incredible history for himself isn't the point, explains diarist-of-the-street Jim Grimsley.
'All these stories and lies add up to something like the truth.' Inspired in part by Ovid's Metamorphoses, Iizuka's Polaroid Stories takes place on an abandoned pier on the outermost edge of a city, a way stop for dreamers, dealers and desperadoes, a no-man's land where runaways seek camaraderie, refuge and escape. Serpentine routes from the street to the heart characterize the interactions in this spellbinding tale of young people pushed to society's fringe. Informed, as well, by interviews with young prostitutes and street kids, Polaroid Stories conveys a whirlwind of psychic disturbance, confusion and longing. Like their mythic counterparts, these modem-day mortals are engulfed by needs that burn and consume.
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Their language mixes poetry and profanity, imbuing the play with lyricism and great theatrical force.
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POLAROID STORIES, Trap Door Theatre. Playwright Naomi Iizuka's grisly, haunting portrait of Minneapolis gutter punks would be significant if only for the fact that it's one of the first plays to dramatically depict homelessness.
And Iizuka resists the urge to sentimentalize her subject: her characters are shameful, self-absorbed, and destructive. Nor does she waste time with dull moralizing-there's far too much to apologize for, since the wayward teens in Polaroid Stories are fucked-up on an epic scale.Remarkably, Iizuka has also made her profile of misspent youth correspond with Greek mythology. Though she interviewed a group of Minneapolis vagrants for her 1997 piece, she wasn't content to take a documentary-style approach, instead opting to fold elements from Ovid's Metamorphoses into her cautionary tale. Narcissus becomes a self-infatuated gay hustler, Philomel's songs of sorrow and forgetfulness fall on deaf ears, and Persephone acts as the de facto queen of this veritable kingdom of the dead.A number of virtuoso performances-especially Derrick Nelson's portrayal of Dionysus as a world-weary street poet and John Cabrera's mesmerizing turn as Narcissus-make these characters' struggles all the more vivid. Given the play's fragmented structure and alienating intentions, Polaroid Stories could easily have strayed off course. But Kay Martinovich's taut, detail-oriented staging avoids the potential pitfalls. Indeed, Martinovich and her superb cast have transformed Iizuka's challenging script into two hours of potent, gripping drama.Nick Green.
Polaroid Stories Script Pdf
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Award-winning playwright Naomi Iizuka gives voices to the traditionally voiceless by merging outcasts of our urban society with mythological characters whose ep. Hemeral, transient lives reflect the main themes of Ovid's Metamorphosis, on which many of the stories are based, the power of storytelling and transformation. In Polaroid Stories, Persephone (Queen of the Dead in Classical mythology) is a drug addict prostitute; Orpheus (who in Classical mythology is the greatest ever musician, capable of making rocks cry with the beauty of his music, and travels to hell to save his wife) obsessively stalks Eurydice.
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