Frankly, the title says it all -- because that's what I was doing throughout most of the show.  Screaming Silently is a trainwreck, I'm afraid, and no amount of cute stage business or earnest delivery can save it.  The play is about four adult siblings reunited upon the death of their egomaniac film-director father, one Giles Forbes.  In the style of such stories, the siblings return home to pay their last respects and rivalries and dark secrets emerge.

The central flaw as I see it is that the playwright, Shane Rochon, takes on far more than he can handle with this...

Screaming Silently

Why We Need Critics

Editor's Note: Following the recent eruption of comments caused by Brett Owen's piece on Joe Ink's Dusk,  I wanted to write something that outlined PLANK's position on reviewing and the approach that we've tried to foster over the last three years. Before I could put finger to keyboard, Jill Margo came across an article from 2008 written by Chris Dupuis that did such a good job at analyzing the role of the critic and the need for more public conversation that I thought I would post it here in its entirety and let it do most of the speaking for me. The article originally appeared on the website Time and Space, which is well worth a poke around in its own right.

Author Name: 
Chris Dupuis
Photograph Caption: 
Tara Dyberg in Joe Ink’s Dusk; photo by Chris Randle