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I liked that the main character remained a strong woman, even though she was was a victim of a psychopath's stalking. They'd gone on a blind date and after a few minutes and a polite beer, she decided she never wanted to see him again. Theresa was not an especially attractive character, but enough to keep Tony passionately pursuing her, even when she told him she was no interested. The tone of the stalki I liked the heavy themes of how genders are raised in society, expected to ogle or be ogled.

The tone of the stalking escalates when he threatens her life and enters her office and home uninvited. Everyone misread his behavior at first, until he crossed the line into psycho.

Boy Gets Girl Act 1 Scene 1

The police couldn't do anything other than suggest she change her identity. I liked the pornographer Theresa interviews for their magazine, Window of the world. The magazine name is what this book offers into the world of social sexual behavior norms and biases. The pronographer was honest in his fondness for breasts. Theresa printed the article without restraint and the subject eventually became a friend. Aug 29, April rated it liked it Shelves: play , meh.

Okay, so I started reading this play with some great expectations.


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I had heard that it was great and the mini reviews on the cover made it seem entertaining and thrilling. The play started out okay, and this just got boring. I was interested more in Theresa's interactions with Tony. It seemed like Gilman got frightened by the idea of showing more of how creepy Tony is. I know it was an artistic choice to have audience imagine what Theresa was reading in Tony's insane notes, but it just left me u Okay, so I started reading this play with some great expectations. I know it was an artistic choice to have audience imagine what Theresa was reading in Tony's insane notes, but it just left me unsatisfied.

I wanted something more exciting to happen. The play just seemed so incomplete to me. There was a beginning, a muddy middle and a fast paced end. Which a play needs, but the ending was just so I know that a play can't run forever, but something was missing. To me, it seemed like Beck suggesting name changes, etc just came to quickly. Overall, a nice read, but needed a bit more. Jan 03, Laura rated it it was amazing. In a world where a man can brag about committing sexual assault and be elected to the highest office in the land, never has a play been more relevant.

Boy Gets Girl is the classic tale of romance, where a boy falls for a girl, the girl rejects him, and the boy stalks her for months and threatens her life. As soon as I turned the page, I could tell this play was written by a woman- by someone who has lived the everyday hassle of being in public while presenting female. Every exchange , from disbe In a world where a man can brag about committing sexual assault and be elected to the highest office in the land, never has a play been more relevant. Every exchange , from disbelief, denial, victim-blaming, and the truly ridiculous and ultimately fruitless recommendations of next steps, rings true.

Every man who has called himself a Nice Guy, who has been angered by rejection, who has whistled at a woman on the street, should read this. And every woman who has felt unsafe after a date, who has taken a different route home, who has felt like a thing, so every woman should read this play to know they aren't alone. I mention that because I can't really say if I'm giving four stars to the book itself or to my memory of the text interpreted. I do know the play offers a great mix of tension and humour, all while exploring a tough and thought-provoking topic.

It's well worth a read, assuming you can't convince Peterson and friends to act it out for you. Mar 10, Jen rated it liked it. I thought the dialogue was great, for the most part. Very natural and easy and believable. She cranks up the tension but still some of it is surprisingly funny, which keeps you a little off-balance, which makes the tension even higher. But some of the speeches were too heavy-handed. It seemed like we should be able to understand Gilman's point from the events, without having the characters tell us why it's scary and bad that this character is being stalked.

Of course, this is just from reading the I thought the dialogue was great, for the most part. Of course, this is just from reading the script.

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I'm sure seeing the play performed is a different experience. Jul 06, Nan rated it liked it. This review has been hidden because it contains spoilers.

To view it, click here. A cold reading makes the play feel outdated. A good theater company and a good staging can probably find a way around it. It does accurately portray some of the destructive sexual models modern society promotes. I'm not sure how I feel about Les. He is the maker of the myths that tear us all apart, and yet he is forgiven.

Play Review: 'Boy Gets Girl'

Because he is old? Because he is sick? Does Tony win in the end? Jan 21, Gregory rated it liked it Shelves: play. A play dealing with the horrors of stalking. It's very short - I read it in about an hour and a half. Had to read it for school, and many of my classmates made it out to be something to be dreaded, not to be enjoyed. But I am not like them, in more ways than one.

I enjoyed it. It's not the best play, obviously. But it's simple enough to understand, while being interesting enough not to want to be put down. Apr 20, Sarah rated it it was amazing Shelves: drama , eternal-favorites. Gilman always laces her plays with debates about modern life and its problematic meanings. Maybe her most interesting use of it comes in this play about casual knowledge and how that translates into objectification of the most violent order. Full of tension and devolving mental strength as an identity is infringed upon. Sep 01, Rebecca rated it really liked it.

It brings to light an uncomfortable situation stalking and increases the audience's awareness of how an innocent situation can turn into a dangerous one. Apr 19, Sarah rated it really liked it. And even if the play has the faintly over-workshopped quality you often find in American drama, in which all the rough edges are planed down, it still exerts a fiercely intelligent grip. Gilman lays out the evidence with considerable care. Her heroine, Theresa, is a bright, witty staff writer on a New York culture and politics magazine. A colleague fixes her up with a blind date with a guy called Tony who works in computer training.

Rashly, Theresa accepts a second date with Tony at which the gulf between them becomes yawningly apparent. But, although Theresa severs the connection right there, she is besieged with flowers, phone messages and imploratory requests. From being a pest Tony turns into a stalking menace; and, although a restraining order is served, we see how Theresa's personality is changed and how, in such situations, the predator invariably wins.

The best parts of the play are those that show the slow erosion of Theresa's confidence. She is clearly a good writer and editor who enjoys the intimate exchanges of a civilised literary magazine. Don't imagine that things get any easier in Rebecca Gilman's carefully composed, synthetically smooth play of courtship as blood sport, which opened last night at the Manhattan Theater Club.

To use the language of Hollywood advertising, the first date is only a warning. Gilman is one of the most conspicuous members of a breed of rising dramatists who don't shy from the social problem play, a genre that is finding its feet again after years of dust-gathering exile. Her best-known previous work, ''Spinning Into Butter,'' clinically considered a New England college paralyzed by political correctness.

Play Review: 'Boy Gets Girl' | kyhudaji.gq

With ''Boy Gets Girl,'' Ms. Gilman takes on the more inherently dramatic topic of sexual stalking. The subject, with its blend of dark eroticism and ever expanding menace, has been a favorite of film and television for a couple of decades. On one level ''Boy Gets Girl'' neatly follows the formula of such shows. It also comes with its own set of built-in footnotes, which examine the broader societal implications of that formula. Therein lies both the principal strength and weakness of the play. His staging has been adapted here by Lynne Meadow, the Manhattan Theater Club's artistic director, with much of its orginal cast.

It is hard to imagine a more assured ensemble or a central performance that better serves Ms. Gilman's purposes than that of Mary Beth Fisher. Fisher plays Theresa Bedell, a magazine journalist who conscientiously wears the glossy, hard veneer that is the uniform of many New Yorkers. It's what allows her to have her privacy and an interior life in a city of combative strangers.

It is an assault that eventually makes Theresa so cripplingly self-analytical that her most basic identity becomes suspect. So, by extension, do her relationships with the other men in her life, which in turn offer magnified glimpses of sexual attitudes ingrained in contemporary society. As a female police officer Ora Jones tells Theresa, ''We can't always tell how much is us, and how much is the world around us. The play is first-rate when it actually shows us this principle in operation rather than telling us about it.

That first scene is so gripping precisely because it finds the sinister in the most prosaic, fumbling conversation. As Ms.