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Suzuki invented for his Farewell Cult Trilogy.2
it's own production with WAITING FOR ROMEO (1992), a collage of various texts
in which a section of ENDGAME becomes central.
of Seyton which had a large overlap with Clov, particularly in relationship with
Suzuki and Tsutamori's conception of an older Hamm-esque Macbeth. The
following summer the company created a piece called GREETINGS FROM THE
EDGES OF THE EARTH using the Macbeth-Seyton relationship as the focal point.
In this sampled-text production an exchange between Hamm and Clov from the
Beckett was included.
Suzuki Company, my father was slowly succumbing to a dementia state which is
thought to be Alzheimer's disease.3
The year that I began at Columbia (actually the
very day classes began) my father moved into a nursing home because my mother
was no longer able to effectively care for him at home. My contact with him had
been hinting at something which I didn't fully realize until I reread ENDGAME in
the fall of my second year at Columbia. I could not get through it. The effect that the
play now had on my emotions was so strong that I would get to certain passages
and simply have to put it down.
that lay under the surface of modern life. I couldn't describe what the play was
"about" (except in very superficial terms), but it was clear that the play was about
both my personal inner life as well as what I saw happening in the world at large.