Burns, she has stripped America's longest-running scripted show down to its essentials, allowing her to build something entirely new out of familiar parts. Everyone knows The Simpsons, and that shared understanding is strong enough to support anything Washburn wants to make of it. The Simpsons is an incredibly rich text, stuffed with intricate throwaway gags that make each episode endlessly watchable, and-as Washburn's characters quickly figure out-surprisingly hard to remember in full. It's a security blanket, and if the world ended, it's where I would turn as well. syndicated episode, and the show still has the power to take me back to childhood. As a child, my evenings revolved around the 5 p.m. That caustic yellow family first appeared on The Tracey Ullman Show a few months before I was born, and took to primetime when I was two. This is a melancholy thought, especially for someone who has been watching The Simpsons his entire life. Photo by Sara Krulwich/The New York Times Burns, a Post-Electric Play at Playwrights Horizon. Morris, Susannah Flood, Gibson Frazier, Sam Breslin Wright and Matthew Maher in Mr. The world has gone dark, and no one will ever watch The Simpsons again. They cobble it together bit by bit, without the DVD safety net to help them fill in gaps, knowing that whatever they can't remember will be lost to history. Civilization has collapsed in a nuclear haze, and a gang of survivors huddle around the campfire, trying to keep out the dark by retelling an old Simpsons episode. Burns: a post-electric play, which premiered last year at Washington, D.C.'s Woolly Mammoth Theatre, and is playing at New York's Playwrights Horizons through October 6. You can always check the DVD when you get home. Get into an argument about how a specific line, or scene or shot went? Relax. Ask your friends for help, and you're no longer just telling a story, you're creating one-even if it is just paint by numbers. Strive to conjure up as much detail as possible. Now, because it was (quite rightly) cut from the review, let's revel in this for a few seconds.Next time you're on a road trip, kill time between exits by telling your fellow travelers the complete story of The Godfather, scene by scene. That the play eventually collapses is not because she asks too much of her source material, but because she doesn't take it far enough. The Simpsons is an incredibly rich text, stuffed with intricate throwaway gags that make each episode endlessly watchable, and-as Washburn's characters quickly figure out-surprisingly hard to remember in full. That caustic yellow family first appeared on The Tracey Ullman Show a few months before I was born, and took to primetime when I was two. This is a melancholy thought, especially for someone who has been watching The Simpsons his entire life. The world has gone dark, and no one will ever watch The Simpsonsagain. Why not just read that? Civilization has collapsed in a nuclear haze, and a gang of survivors huddle around the campfire, trying to keep out the dark by retelling an old Simpsons episode.
The first two acts of the play were brilliant, doing everything I expected and a hell of a lot more, but then.well, I already wrote the review. A few weeks ago, I that dream was fulfilled, in the cozy confines of Playwrights Horizons. Burns: a post electric play for over a year, ever since it premiered at D.C.'s Woolly Mammoth Theatre Company. I've been waiting to see Anne Washburn's Mr.
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