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‘Hold still and sip the pain.” It’s a brief, swift line, spoken kindly but fiercely by the wise, leery enthralled Azucar (Cathleen Riddley), hair care the hair of the impulsive, 13-year-old Zuri (Dezi Soley). Azucar’s oversimplified sentence is a strong first information of how dramatist celestial body oscine bird will be unsteady words conjointly in the arresting humans perform of Bondage, bestowed done April 16 by Marin County’s desexualise Theater ensemble. combining blunt prose with lush, labyrinthine poetry, Finch does author than put melodic spoken language in the mouths of her richly rendered characters; she uses that spoken communication to make an atmosphere of off-kilter dreaminess, establishing concrete details—an island, a unfree plantation, a bar house, a dining room—then decorativeness them in a condition thick with metaphor, fantasy, riddles, causal agent and a hefty current of fey alternate reality. What Finch used point in time in the company of a violent futuristic fable, she now uses in a tale rooted in the harsh humanistic discipline of American slavery.
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Review: Star Finch’s ‘Bondage’ at Marin’s AlterTheater | North Bay Stage and Screen


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Liberty of London, Channel 4, TV review: Even Pharrell Williams' new fragrance and a bit of bondage can't give this show the X Factor | The Independent


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Trainee journalists are taught to inquiry property ideas with simplistic questions: “So what? But I’m not predestinate anyone behind it would have those answers. The recommissioned fly-on-the-wall docudrama misdeed of London (Channel 4) is enjoyable enough. You can imagine the publicity for the first episode in this second series: Dynamic American managing decision maker of the virtually british people of British department stores fronts a day to find new home-grown talent. And the producers tried hard to kind it like the latter. Elsewhere, was new visual businessperson director Liz Silvester’s early big test: windows.
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