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How To Get Into Buildings
Roger and Lucy meet at a convention. Daphne and Nick break down at a diner. Ethan continues to read compulsively from his new book, The Car Accident, which wouldn't exist without Daphne. Soon, it becomes apparent that reality is slippery, time shifty, and we join our characters' struggles with their own discoveries about love, opportunity, and the desire to pause with trepidation as they try to articulate who and what they actually love.
76 pages, Paperback
Published May 18, 2017
3 people want to read
About the author
Trish Harnetiaux
10 books30 followersTrish Harnetiaux is a Brooklyn-based writer. Her play Tin Cat Shoes premiered in 2018 kicking off Clubbed Thumb’s Summerworks (Playwrights Horizons Superlab). Currently she is developing Bender and Brian, an epic tale of subversive Breakfast Club fan fiction (Exponential Festival, Prelude Festival, forthcoming JACK) and We Are Not Well (Clifford Odets Commission).
Harnetiaux was an Executive Producer on the off-beat comedy series Driver Ed that premiered at 2018 Tribeca Film Festival. She has been a resident at MacDowell, Yaddo, The Millay Colony, and SPACE at Ryder Farm. She was a member of the Ars Nova Play Group and the Soho Rep Writer/Director Lab. Affiliate member of New Georges. MFA in playwriting from Brooklyn College. Her novel, White Elephant, is forthcoming this fall (Simon & Schuster). UK edition The Secret Santa (Penguin Random House).
A Washington State native, she's partial to hard rain and volcanic ash.
Harnetiaux was an Executive Producer on the off-beat comedy series Driver Ed that premiered at 2018 Tribeca Film Festival. She has been a resident at MacDowell, Yaddo, The Millay Colony, and SPACE at Ryder Farm. She was a member of the Ars Nova Play Group and the Soho Rep Writer/Director Lab. Affiliate member of New Georges. MFA in playwriting from Brooklyn College. Her novel, White Elephant, is forthcoming this fall (Simon & Schuster). UK edition The Secret Santa (Penguin Random House).
A Washington State native, she's partial to hard rain and volcanic ash.
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Displaying 1 of 1 review
January 17, 2022
Overall this text runs into many of the issues that experimental/post-modern theatre runs into as a published work, namely there is no visual structure to hold the action (literal action) together and bring it into view.
For a work that is based on the "exploded view" of a schematic this is a serious problem.
Never are we able to see the bigger picture from which we can then focus on details. Instead, we are given all the details that never - on the page, perhaps not in production - materialize into a cohesive whole, so the play feels episodic and disjointed.
I have no doubt that the original production was a moving, cohesive piece of theatre, but on the page alone, without all of the elements of the stage, it misses its mark.
For a work that is based on the "exploded view" of a schematic this is a serious problem.
Never are we able to see the bigger picture from which we can then focus on details. Instead, we are given all the details that never - on the page, perhaps not in production - materialize into a cohesive whole, so the play feels episodic and disjointed.
I have no doubt that the original production was a moving, cohesive piece of theatre, but on the page alone, without all of the elements of the stage, it misses its mark.
Displaying 1 of 1 review