What do we mean when we say love lasts forever? And how does love’s “foreverness” operate in a world populated by time-bound creatures who have conflicting ambitions and constantly shifting needs and expectations? Also, why do we make out and fly kites and stuff but also yell at each other?
New Century Theatre Company’s all-woman production of Bright Half Life, Tanya Barfield’s nonlinear drama of love and loss, plays out on a black, blocky hillock over which set designer Catherine Cornell strings an orrery of lamps. The scene looks like an abstract version of stars shining brightly on a hill, or maybe a cosmic platform floating through space. It’s almost as if the set establishes the Matrix-like realm necessary to answer the questions orbiting around the relationship at the center.
