The play knits together a number of interesting and pertinent threads: about humankind’s responsibility to the world, but also about individuality and genetics, and the American thirst for expansion.
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Walden shows a lot of promise for a new writer on the scene, as this marks Berryman’s debut, and I’m excited to see what she does next and how she grows as a storyteller from here.
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Walden is a big, ambitious play that ends up collapsing somewhat under the weight of its own ideas.
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The piece crams a lot into 90 minutes and doesn’t achieve complete lift-off. Ian Rickson (who directed the Vanya) musters an appealing air of wooded seclusion but the make-or-break reunion calls for a touch more tension, less soothing birdsong.
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Walden is a play full of interesting ideas...it compels with the strength and complexity of both its plot and its thoughts...In the end, however, it gets bogged down with the weight of its own arguments.
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[Walden] is not a great play. But it is ambitious, engaged on many fronts, and forward looking in a way that’s rare for theatre: I’m always surprised how little sci-fi gets on stage.
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Walden is an apocalyptic vision that sometimes comes close to turning into a well-intentioned lecture.
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Amy Berryman’s intelligent, soulful drama...original play of ideas that takes in everything from the ethics of space endeavour to climate activism and the pull between duty, ambition and desire.
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