Comments on: The Lost Ones

By: Ted McBurnett

Ted McBurnett — Sat, 18 Jul 2009 05:23:05 +0000

We are witnessing the birth of a brilliant new star. Carter Jahncke and Mark Twain have something in common. They are both from Connecticut. It doesn’t get any better than this.

By: Karen Shod

Karen Shod — Tue, 14 Jul 2009 23:40:22 +0000

Brilliant production! I’d deem it a “must-see” for every theatre artist or afficionado ~ even if you think you dislike Beckett, or don’t know his work.

Seldom will you see ANY Beckett done better, and especially this one. Jahncke & Henrich really “get” Beckett, and have the theatre chops to transport viewers into their inspired vision. The audience en masse was spell-bound for the entire intense 60-min. (not 75m, as published).

Though the physical space is “close,” it wasn’t uncomfortably hot or claustrophobic (to which I’m subject). Its intimacy & 3/4 round staging perfectly suit the production. Do not miss this!!!

And thanks, Tim, for the enlightening article link.

By: theaterfan

theaterfan — Mon, 13 Jul 2009 20:23:55 +0000

Scena did the show six years ago, in 2003, not a decade ago like the review reports.

By: Ted McBurnett

Ted McBurnett — Sat, 11 Jul 2009 18:55:09 +0000

I flew in last night from Florida just to see Mr. Carter Jahncke in this production. It was well worth the trip. Jahncke is an exceptional actor, his experience and talent perfectly suited for this role. An extraordinary theatrical event. Don’t miss this. I thought I caught the ghost of Marcel Proust in the audience.

By: Steve Smith

Steve Smith — Sat, 11 Jul 2009 18:22:36 +0000

I highly recommend the show. Who knows when you’ll get a chance to see this performed again, and I thought Jahncke is excellent in this role.

By: Gene Barnes

Gene Barnes — Sat, 11 Jul 2009 15:06:42 +0000

Tim, it’s not Salvator Dali, but that’s pretty close. After the show, Mr. Jahncke shared with us his idea to make the puppets like the sculptures of Giacometti. Google it and you’ll see the resemblance instantly. It works well because the thinness of the figures allows their stances/character/emotion to be seen at some distance.

My take (and I offered this to Jahncke last night) is that the Aged One is like the earliest writers of the Bible, trying to make sense of their world by guessing what God had in mind by creating it. But the Aged One’s vision is far darker, more bleak, only in its own way spot on. At least it is “modern,” imbued with the ravages of greed/capitalism, alienation, lust, and a constantly warring world. At a certain point, people yearn for Something More. These are the people, in their respective stages of discovery, who inhabit the Aged One’s cylinder of — what, Hell? Maybe.

And, just for the heck of it, I’ll take issue with your caveat that this is no great way to make Beckett’s acquaintance. You don’t need other Beckett to get something out of this one. We need only say that the author’s earlier work grabs you perhaps more immediately. But don’t let that steer you away from this piece. It’s a keeper. Go see it, no matter how far along you are. You’ll get plenty out of it.