| Spitting In The Face Of The Devil written and performed by Bob Brader directed and developed by Suzanne Bachner |
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Spitting in the Face of the Devil masterful childhood memoir By Stephen Cooke Sunday, September 6, 2010 If you just go by the basic outline, an 80-minute, one-man show about a young man discovering his abusive father is also a pedophile, you might think Spitting in the Face of the Devil would be a hard, demanding slog. And you’d be dead wrong. Instead, New York’s Bob Brader delivers a masterful childhood memoir that can take a hairpin turn from joyful to chilling without missing a beat as he describes growing up with a manipulative, ex-Marine dad who kept his secrets hidden for only so long. Considering the loathing Brader had for his father for so many years — he keeps his obituary pinned up on the wall "because reading it made me smile" — it can’t be an easy task to impersonate him night after night. But when he narrows his eyes and talks in a voice like a cross between Charles Bronson and Robert (Baretta) Blake, you definitely feel his presence. What carries us through Spitting in the Face of the Devil is the fact it isn’t the story of a victim. Instead it is one of triumph over a formidable enemy and Brader’s own personal demons that followed in its wake. A portion of the proceeds from this play go to the child protection organization Little Warriors. |
| The Coast Spitting in the Face of the Devil After two jam-packed days of theatre, it was a lovely break to have a day with only two shows to see. I chose wisely, too. The heavy, but masterfully-delivered subject matter of Spitting in the Face of the Devil balanced beautifully with the short, light-as-a-soap-bubble Naked. “Naked” would be another excellent title for Spitting in the Face of the Devil, as its actor/writer Bob Brader strips his life bare in front of a spell-bound audience. Brader lived through years of unimaginable hell with an abusive, child-molesting father, and some of the details are difficult to listen to. However, from the moment Brader steps on the stage, his easy-going manner and warm smile offer reassurance that you are looking at a survivor who has ultimately risen above the experiences of his childhood. Brader is a wonderful story teller who draws the audience in with vivid impressions of the family and friends who surrounded him. The use of a large family photo set in one corner of the stage is a brilliant touch. Somehow, by looking into the faces of the characters in the story (particularly that of Brader’s father) the story is made more real and poignant. This play deserves to be seen, and its message of hope and triumph deserves to be heard. |
London Fringe Festival -Mark Killeen Spitting In The Face Of The Devil By Bob Brader Directed/Developed by Suzanne Bachner June 18 to 27, 2010 Fanshawe College Theatre in Citi Plaza as part of London Fringe Festival **** / 4 Down to earth masterful storytelling! Bob Brader bares all in this true story of his life. I was riveted to his story of his abusive father, with whom he branded the Devil. A man that I am sure many people have encountered in their lives....”you’re not good enough”, etc. I knew the audience was captivated because during his few pauses you could hear a pin drop... not one member of the audience even shifted in their seats. Bob Brader has a natural storytelling style in this well written piece. The story flows along like a steady river in the hands of a master. I must admit I was not looking forward to a heavy piece like this, especially after seeing two comedies to start the Fringe. Trust me, you are in good entertainment hands with this show... don’t miss it. |
Facing down the Devil at the Fringe THE ONE By JAMES REANEY, The London Free Press Last Updated: June 19, 2010 12:00am Bob Brader stars in the monologue Spitting in the Face of the Devil. The 2010 London Fringe fest has so many fine attractions; it's tough to single out a single entry as "the one." But even in this crowded field, Spitting in the Face of the Devil, written and performed by NYC monologist Bob Brader, stands out. The 80-minute dark comedic monologue with shifting characters tells the true story of Brader's discovery that his charismatic, ex-Marine father is a pedophile and the devil in the title. Spitting in the Face of the Devil was directed and developed by Suzanne Bachner. It's a production of the New York-based John Montgomery Theatre Company. |
London Fringe Festival -Donald D'Haene Spitting In The Face Of The Devil By Bob Brader Directed/Developed by Suzanne Bachner June 18 to 27, 2010 Fanshawe College Theatre in Citi Plaza as part of London Fringe Festival **** / 4 Wow! Two one-man shows in a row that rock! And two shows that were as good as the best of fringe last year! What a first day for Fringe 2010! Bob Brader’s delivery demands your undivided attention. Brader is a brilliant story teller/performer. Oh the pictures he paints with his words. His energy, brutal honesty, voice(s) – all astound. Eighty minutes of brilliance! I was with him every minute of his journey. Don’t miss it! |
Spitting In The Face Of The Devil New York International Fringe Festival reviewed by Kristin Skye Hoffmann Aug 14, 2009 In Spitting In the Face of the Devil, writer/performer, Bob Brader has produced a one-man show that isn't "showy" at all. His performance is sort of the antithesis of spectacle in a theatre, and it happens to work quite well. In fact, it is more like a man telling his life story to a room full of uninterrupting friends than it is a man performing a monologue. Certainly, Brader changes into the characters about whom he speaks, but he does it in a way that makes it impossible to forget who is actually telling the story, and it is indeed an unforgettable story. I believe he only even got up from his chair one time for the duration of the performance. "The Devil" to which the title refers is Brader's father. From what we learn over the course of the performance it is a very appropriate nickname. Abusive, mean-spirited, and a closeted homosexual child molester—these are just the tip of the iceberg that make up this "devil" and the unfortunate thing is that even though the tales are reminiscent of common soap opera themes and seem too horrible to be true, it becomes very evident by the end that what was inflicted upon Brader in his youth and into his adulthood are all too common for people these days. Brader should be commended for his performance. He offsets the melodramatic themes by avoiding any play for sympathy, which is not something that many writers/performers of one man shows tend to do. He is ultimately just telling his story. With the help of director Suzanne Bachner he avoids any possible hint of whininess that could easily have been present. Bachner does an excellent job in not over-directing this piece. It is so simple and honest that even the uncomfortable material is easy to absorb. Brader's story is one that many people with similar experiences would struggle to share, and he deserves kudos for having the guts to make it into art rather than letting it swallow him whole. This is a show that should really appeal to the everyman—to people with dreams who have had to know themselves before they could make them real, shirking off the oppression of anyone who has told them they would never be anything. It reminds us to value those who support us and to accept that there will always be someone telling us we can't do something. It is up to us what we choose to believe. |
Spitting in the Face of the Devil: a Hellish Delight Tuesday, June 19, 2007; Posted: 11:27 AM - by Duncan Pflaster I'd enjoyed the work of the actor and director before (I reviewed We Call Her Benny in the Frigid Festival in March), often one-person shows can be hit or miss. I'm pleased to report that I have to say I was apprehensive about going to see Spitting in the Face of the Devil. Although Bob Brader's autobiographical one-man show about his relationship with his late father is very much a hit. Like the late, great Spalding Gray, Mr. Brader sits behind a table and talks, with nothing but his voice and facial expressions (and a few lighting changes) to carry his story. Mr. Brader is an incredibly versatile and engaging performer. Every character he talks about and impersonates is vivid and real. Suzanne Bachner's direction is flawless. She is also credited with developing the piece. The story is harrowing and fascinating- it concentrates on an abusive ex-marine father who Little Bob comes to call The Devil. Little anecdotes build up into a cohesive whole as the child begins to grasp the whole picture of who his father is and was. The sometimes shocking subject matter is peppered with humor throughout- It's a credit to the writing and direction that the audience is brought along for the ride so effortlessly. One can recognize one's own foibles in the story; by the time it was over, I knew these people. I highly recommend this piece. |
| offoffBway.com Review: Spitting in the Face of the Devil offoffbway @ 5:45 pm July 15, 2007 review by Naneh Israelyan In a compelling performance, Bob Brader, or Little Bobby as referred to by his family, animates for the audience the story of his childhood through the upbringing of his abusive father. Bob Brader enters the stage to announce the death of his father and thereafter slips into a simple wooden chair centered in the middle of a simple wooden desk—and at this desk Brader draws the audience into his childhood through the magic of storytelling. An autobiographical story, Bob Brader reproduces certain events of his childhood through immaculate impersonations of family members and friends, elaborate depictions of incidences that have marked his childhood, and smart lighting choices that aid in bringing his words to life. As an audience member, you will find yourself intrigued by this man’s tragically sad past. Certain anecdotes might spark questions as to their significance within the entire picture; however, seemingly insignificant events bring together a larger story by the end of ninety minutes. Robert A. Brader, Sr., the aggressive and insulting father who inspired a profound hatred within Bob Brader whose only salvation was found in his cloying mother, hides an entirely unforeseen, shocking secret that is revealed half-way through the play. The audience discovers the secret as Bob Brader proceeds in uncovering the truth. Brader’s words compel the audience to such an extent that one might feel as though one is unearthing secrets and experiencing events as Brader makes his movements. Further, the course of the story flows elegantly with successive stories strewn together by complex links among following anecdotes. The final blow, however, was not half as satisfying as the majority of the play. Although possessing a dense understanding of the nature of family whose attitudes, manners, and even behavior inevitably may wash over proceeding generations, one might find that Bob Brader’s inability to shy away from his aggressive tendencies disappointing. Despite an unsatisfying closure, Bob Brader keeps the audience at their knees with an engaging knack for storytelling adorned with smart humor and a shattering kind of sadness that will linger in the mind. |
The Exorcist by Lauren Snyder Spitting In The Face Of The Devil reviewed June 11, 2007 There are many reasons why people write and perform in a one-person show: to engage in a very public therapy session, to tell a story that hasn't been heard onstage, and, obviously, to showcase their acting/writing talents. For Bob Brader, his reason was more pressing. He needed to exorcise the demons of his past—specifically, his father, who is the titular evildoer at the center of Brader's Spitting in the Face of the Devil. Growing up in eastern Pennsylvania, Brader was "Little Bob" to his dad's "Big Bob." But the elder Bob's joviality and popularity with his extended family and friends was at odds with the belittling, abusive monster whom his son and wife knew at home. As Brader dispassionately charts his coming of age and realization that his father is the Devil, he relates experiences both charming (when he figures out that he wants to be an actor) and disturbing (his father's way of handling Brader's bedwetting habit). As the truth behind Big Bob's behavior comes out, will Little Bob be able to escape his father's grasp, and his legacy? Brader employs a linear structure to his storytelling, starting from the news of his father's death and then running through major events of his youth and early adulthood. Though the show runs 90 minutes—a little lengthy for a solo piece—Brader's tale and his energy in telling it keep the audience from growing restless. The set (a black desk and chair on a black stage) and Brader's position (seated behind the desk) never change, but the performer's pauses for a sip of water or coffee work alongside Douglas Shearer's lighting design to note scene shifts and changes in tone. Brader's impersonations of his mother, father, younger self, and friends are judiciously minimal, evoking the characters without turning into silly impressions. The actor mostly underplays the drama of the story, but the events in his story, coupled with Brader's driving need to tell it, make for compelling theater. There is catharsis to be found when opening up to the world. While Brader admits to having worked on much of his past in therapy, it's clear from Spitting in the Face of the Devil that this production is not just vanity or exhibitionism, but a way to expunge any remaining residue from his gritty past. As for the audience, some might get a voyeuristic thrill from the proceedings, or a feeling that "the grass isn't always greener" (their childhood wasn't so bad after all). But most important, they are part of one man's healing process. |
Spitting in the Face of the Devil Martin Denton • May 7, 2007 Spitting in the Face of the Devil is a gripping monologue in which Brader talks about his father (the “Devil” of the title) and how he has begun to come to terms with the legacy that Robert A. Brader, Sr., who died in 2003, left behind. Brader grew up in a small town in Pennsylvania where everybody loved his glad-handing Dad—everyone, that is, except Bob himself, who was systematically abused, physically and emotionally, by his parent from an early age. for participating in school entertainments. This stuff is hard to listen to, but Brader’s confident, candid storytelling manner and his vivid, earnest writing keep us compelled throughout. It’s not just a litany of horrendous recollections nor is it the outcry of a helpless victim; Brader genuinely wants to understand his father and why he acted the way he did (notwithstanding the epithet he’s chosen to give him), and he wants us to understand too. Near the end of the show, when Brader shares that he recognizes more of his father in him than he’d like to admit (and talks about working hard to “exorcise the Devil”), we really appreciate the stakes for the playwright/performer, and the play feels even braver than it already has. Brader’s father had a deep dark secret that fueled much of his rage and misbehavior, and though it becomes easy to figure out what it was as Brader recounts his tale, it’s still definitely a doozy and won’t be given away here. But Spitting in the Face of the Devil is less a mystery story than it is a journey into manhood and, as I’ve already said, away from constrictive shadows of the past. Brader, a fine actor who has appeared in numerous works for downtown auteurs Suzanne Bachner (who directed and developed this show) and Frank Cwiklik, proves himself also a deft writer. Spitting in the Face of the Devil is rich with intelligence and humor, and shows off its author’s broad range of talents neatly. (Brader demonstrates, for example, his nifty Paul Lynde imitation at one point.) It’s staged with simplicity, Spalding Gray-style, with just a desk, chair, and bottle of water. Brader creates the various characters in the show using spare mannerisms and differing voices. Overall it’s a gripping, elegantly conceived event. Brader’s conquest of his demons is probably still ongoing, and that fact lends his show a therapeutic feel (for him, I mean) that ongoing healing may diminish. He hasn’t put all of his father’s story in this show, either because he doesn’t know it or doesn’t want to share it; maybe with more distance he can add that in as well, for deeper insight into the dangerously unhappy man who was the most important influence on Brader’s life and who is also the sad center of this drama could only strengthen both. |
| ON THE SCENE Spitting in the Face of the Devil Written & performed by Bob Brader At Art Point Gallery through Aug.6 Four stars Review by Stephen Hunt Every guy hates his dad once in a while, but in the case of Bob Brader Jr, Dad really earns it. In Spitting in the Face of the Devil, the New York-based Brader tells a story that's a horrifying variation on that old line by Leo Tolstoy about how all happy families are alike, but unhappy ones are each unhappy in their very own way. I'll say. In the case of Bobby Braden Jr., it's growing up in Allentown PA, the son of a verbally abusive armoured car guard (and former marine) who never misses an opportunity to tell his son how he destroyed his Dad's life. It all unfolds through eyes of Bobby, whose main gift is a knack for impersonations, which he exploits in various grade school talent shows his dad refuses to attend. As he grows older, Bobby, a solitary boy, eventually makes a friend, David, who has no dad at home and an alcoholic, abusive mom who's drunk on vodka by two every afternoon. As a result, Bobby and David spend more and more time at Bobby's house, where, to Bobby's surprise--and mild relief -- David and Bobby's dad bond in a way that he never could. Eventually, and rather suddenly, David and his mother leave town, abruptly and without much explanation and Bobby makes a new friend named Richard, who also comes from a family full of alcoholics. It all unfolds a bit like a sad Springsteen tune about no-hope lives in the rust belt -- although I guess it was Billy Joel who once penned a tune called Allentown -- full of damaged souls, but it's all related through the eyes of a young man with a limited understanding of what's actually going on around him. Brader is a talented actor and gifted storyteller. He's one of those performers who can morph effortlessly into another character and make them come alive in a single line of dialogue. Eventually, Bobby's dad is revealed to be a monster, a revelation that throws Bobby's very idea of reality into question. The fallout from the revelation is both redemptive and devastating for Brader: he takes control of his life, which is good, but it turns out he's a completely self-destructive basket case who finds himself marooned in New York, where he does his level best to destroy himself. It all goes on about 15 minutes too long -- Brader tries to jam a New York sequence in that probably needs a whole other play -- but you know what? We forgive him. Even Leo Tolstoy would find the story of Bobby Brader Jr's unhappy family spellbinding. |
| Calgary Sun Sunday, July 31, 2011 SPITTING IN THE FACE OF THE DEVIL: The devil in Bob Brader’s harrowing memory play is his father. The description is apt but certainly not adequate. The man was an abusive monster, who Brader learned was a pedophile who preyed on young boys, including several of his son’s junior high school friends. It is the sensitivity that Brader brings to his monologue that makes this devastating subject matter palpable, compelling, engrossing and, ultimately life-affirming. I cannot recommend this play too highly. |
| Applause! Meter Spitting In the Face Of the Devil Artpoint Gallery July 31 &August 1,3,4 and 6 “When I got the phone call that the Devil was dead, I felt nothing.” At hearing this first line of Bob Brader’s one man performance, Spitting In The Face Of The Devil, we the audience feel nothing as well. But within minutes of the play’s highly charged dialogue, it becomes apparent that soon we will feel anything but nothing for the Devil in this play – Bob’s repugnantly abusive father. The drama of what transpired between Bob, his father, his family and certain of Bob’s friends is shown to us through Bob’s running monologue in what feels like a series of short but achingly powerful stories. We hear about the physical abuse he suffered as a child when his father would whip him for wetting the bed, the verbal abuse as his father belittled his every accomplishment and claimed to be embarrassed by Bob’s lack of talent and the discovery of his father’s predatory sexual abuse and pedophilia. Heavy material to be sure. Material that could have been melodramatic or self-pitying or even clichéd. But Spitting In The Face Of the Devil is none of these things. Instead Brader uses a matter-of-fact delivery in combination with volcanic sized energy and hints of humour throughout the play to allow the audience to follow along without getting bogged down in the sorrow of the story. And then there’s the impressions. In telling the personal vignettes, Bob take on the personas in the dialogue playing his mother, his teachers, his doctors, his girlfriends and even the Devil himself. But it’s Bob’s impressions of himself as a toddler, a young boy and a teen that are the standouts here. Using both voice and physicality, Brader transforms from the adult on stage to the ages he talks about in the dialogue. The scene where Bob as a teenager dishes to his friend about his first breast fondle is itself worth going to see the play for and one of the necessary funny reprieves from the central theme of the show. The Fringe blurb describes Spitting In The Face Of the Devil as a “daring, uplifting and comedic solo show”. After seeing the play I find this somewhat misleading. The play is daring – Brader certainly lays himself and his family bare in the play. But uplifting and comedic? Sure there are humourous moments, some quite funny, but I would in no way call this performance comedic. In fact I found many of the “funny” bits rather sad and pathetic in the way I think Bader intended them to be. As for uplifting, well that I don’t get at all. This is a play without a happy ending or a neat resolution. It’s a true story that is messy and fraught with contradictions. An authentic, horrific, real slice of life. And that’s what makes it so good. RATING For the guys – Hopefully you can’t relate to the story, but you will most certainly empathize with the struggles of a boy and young man trying to navigate a tragic upbringing. SEE IT For the girls - He doesn’t ask for your pity, but your heart will bleed and you will be rooting for Bob and his mother the whole way though. Even if they disappoint you. SEE IT For the occasional audience – Solo shows without any action are often hard for this group. But Bader’s high energy performance and gripping story will wow you. SEE IT For the theater junkie – Some of the vignettes could have been edited out and there were notable holes in the story line. However this will not take away from your appreciation of the superb acting job and compelling script. SEE IT |
FRINGE 2011: "Spitting in the Face of the Devil" Jul 31 , 2011 By LOUIS B. HOBSON The "devil" in Bob Brader's one-man show SPITTING IN THE FACE OF THE DEVIL is his father It's an apt description of the man but hardly and adequate one. Bob Brader Sr. was a monster of epic proportions. He regularily beat his son when the young boy wet his bed. He tormented and taunted the boy on an almost daily basis. It seems Bob Sr. never wanted children. Well not to father them at least as we learn early on in the shocking memory play. Bob Brader Sr. was a pedophile who preyed on young boys including several of his son's junior high school friends. This is disturbing subject matter to be certain but in Brader's talented, sensitive, caring hands SPITTING IN THE FACE OF THE DEVIL is as compelling and engrossing as it is devasting and unforgettable. Brader's genius both as a writer and a performer is that he makes us want to take this cathartic journey with him and that is no easy feat. At the performance I attended Brader had the audience in the palm of his hand. One moment we gasp in disbelief as when his mother agreed to take her husband back when he assured he had cured himself of his obsession. The next minute we'd laugh when the young Bob recalled watching ROLLERCOASTER and EARTHQUAKE with a thundering speaker at the back of the theatre creating the illusion of being in the film. Then there is the marvellous anecdote about his battling cockroaches in his first apartment. He know we need comic relief before we return to accounts of Brader Sr.'s evil. Even as a child, Brader's forte was impersonations and he has honed this skill so that he can play numerous characters of an age and sex in his story. This is one play I did not want to end. I wanted to find out more about how Brader was rescued or rescued himself from his own downward spiral. As with so many victims of abuse he was filled with self-loathing. He claimed it was because "the devil" had got inside him. To exorcise the demon, Brader turned to alcohol and drugs. Today he is a successful actor and writer and is in a happy, fullfilling relationship with Suzanne Bachner who directed the play. I cannot recommend SPITTING IN THE FACE OF THE DEVIL too highly. It is one of those productions that lingers with you long after you've left the theatre. You'll need and want to vent your emotions. |
Spitting in the Face of the Devil "The worse part of the beatings was that I felt that I deserved them." Bob Brader tells us the story of his rough childhood and his asshole of a father, and tells the tale of how he came to discover his dad's pedophilia. It's shocking, disturbing, painful, and absolutely terrific. It's quite well-written and infused with humour to cut the tension, making those 80 minutes fly by. A portion of the proceeds from all ticket sales go to Little Warriors, a charity focused on child sexual abuse prevention and education. Go see it, it's fantastic, and will leave you breathless. |
| Monday Magazine 8/31/2011 - Sam Van Schie Spitting in the Face of the Devil The Devil, according to Bob Brander, is his father: the man that ruthlessly abused him both physically and verbally from a young age and, as he would learn as a teenager, also sexually assaulted some of the young boys he grew up with. *Spitting in the Face of the Devil is Brander's true story of survival. Don't let the grim subject matter turn you away. Brader contrasts the reality of his home life with the humour and optimism of his boyhood adventures. He's matter of fact about all that happened to him and how the adults in his life did little to prevent it. Though he doesn't dwell on it, *Spitting draws attention to the lack of social resources to support families trying flee abuse and our cultures blame-the-victim mentality. Brander's father was never charged nor socially ostracized for his crimes; he died a popular man, well-liked man. Which makes this tell-all show all the more important and brave. |
-Kevin Reid Back to St.Ann’s for the next show, starring a pair I’d already managed to have late-nite Chinese food with in this town! From writer/performer Bob Brader, and director Suzanne Bachner, SPITTING IN THE FACE OF THE DEVIL is every bit as brash and bold a show as it’s title would make you imagine. From the opening line, now one of my fav’rit opening lines EVER, you know you’re in for a harrowing time. For 80 minutes Bob tells us the terribly true story of his childhood growing up with a harsh and brutal Father, whose anger only hid an even darker, more twisted interior. And manoman, are you rivetted for those 80 minutes. Bob commands the stage with an unnervingly easygoing and friendly presence as he relates trials and downright horrors (with the occasional ray of hope and laughter creeping within…it’ s not ALL doom and gloom, folks), giving the kind of frank and forthright performance that can’t help but jar you to your goddamned bones. Lie detectors commit suicide when they get these levels of honesty, gang, and Bob lays it ALL out on the stage for you. If you’ve got the nerves for it, you REALLY gotta see it for yourself. FAV’RIT SHOWS Bob Brader, with the direction of the amazing Suzanne Bachner, tells the most calmly terrifying true tale you’ll ever hear. Punch-to-the-gut acting and no-nonsense writing combine to deliver one of the strongest experiences you’ll ever have at the Fringe. Also, Bob and Suzanne are TOTALLY cool. |
Spitting in the Face of the Devil I was waiting for that one show to come along this year that knocked me right out of my seat. Spitting in the Face of the Devil, a solo show by the energy ball known as Bob Brader, is that show. Detailing a very painful childhood dominated by a terrorizing father (“The Devil”), this performance has a script that sinks into you like a meat-hook and doesn’t let go for 80 minutes. New York resident Brader has mounted this show at Fringes all over the world and won accolades for it—and no wonder: this is a polished, expertly written piece of theatre. And while the story of child abuse by a closeted gay man—and the rage that kept boiling over on his family—is absolutely enthralling, it’s Brader’s performance that makes this show so brilliant. He has an endless arsenal of facial expressions and character switches, complete with different voices and accents. Definitely the performance of this year’s Fringe, and my vote so far for Pick of the Fringe, Spitting in the Face of the Devil is a triumph. And I never say shit like that. —Jason Schreurs |
People had been telling me to see this show for awhile. Usually, I find when people are suggesting something to me and have that wide-eyed sincerity that begs at me to go, I find myself somewhat compelled and somewhat skeptical. I’ve been seeing a lot of tweets about this show, so I decided to check it out. And having seen Bob Brader’s Spitting, I’m not kidding you. You must see this show. We hear first that Brader’s father is dead of a heart attack. “When I heard that the Devil was dead,” he says, “I felt nothing.” Brader takes us back into his family history, giving us a brief geneology and then into his childhood home. His monologue, often dipping into the characters of his mother, father and friends, guides you inside the walls of a very troubled home. I’m being vague on purpose so as not to spoil the show for you, as again, you must see this show. The folks directly behind me were slow to settle at first, fussing with their jackets and phones. And within two minutes, he’d sucked them in and they were silent, like the rest of the audience. The show is at times funny and sweet. But the range of emotions you are brought through as Brader transitions in the narrative from boyhood to growing up will enrage you, move you and astound you. Spitting in the Face of the Devil broke my heart in the way good theatre should. Again, I’m not kidding: you must see this show. Spitting in the Face of the Devil plays at St. Ann’s Academy Auditorium. |
