Violet Young, who plays young Beth, is equally as stunning as a performer as Schumer. The way Cera and Schumer bounce off of each other really brings their relationship to life. There’s also the scene at the boat with the two of them, and the tension is so palpable, with their contrast of emotions playing so well on the screen. Schumer’s fear, her vulnerability, her panic, along with Cera’s confusion and feeling of helplessness of what to do … it’s such a profound scene, and truly a masterpiece. In particular, there’s a scene in the woods with Schumer and Cera, and they both truly nail it. It’s a step away from Cera’s usual comedic roles as well, and he continues to show what a versatile, well-rounded actor he truly is. There are bits of softness that he easily communicates even without words, in a way only Cera can do. Cera’s little nuances and quick replies are so completely Cera, and he really shines in this role. Michael Cera is the perfect balance as John, who instantly makes you fall in love with him, much like Beth. Schumer really shows her dedication as an actor, and this is easily a standout role of hers. Her incredible dedication to this story, the character, and bringing this to life is evident on screen. Her performance speaks volumes as her character goes through a difficult period of her life, and the way she makes herself so vulnerable really takes you on the journey with Beth. However, Life & Beth is a somber look at getting older, tragedy, childhood trauma, and the journey of finding yourself that makes this series one that you’ll want to watch immediately.Ĭreated by, written by, and starring Amy Schumer, she’s easily relatable as Beth. When you think of Schumer, you think of her comedy, having been in films such as Trainwreck as well as being a well-known stand-up comedian. No intermission.In this short 10-episode series on Hulu, Amy Schumer takes you through a journey you didn’t see coming. Heading out of the theater, I thought, “It’s later, I’m home,” expecting time to warp to my needs. And you know? It kind of worked.Ĭonnelly Theater ( Off Broadway). It’s delicious to see a playwright binding genres so confidently (body-double horror and rueful family comedy), but the real pleasure is in how much Plano manages to bend how you perceive reality beyond the proscenium. And in a stellar cast, Finn, Silverman and Flood prove to be masters. Director Taylor Reynolds presides over a production that does Arbery proud: Daniel Zimmerman’s set looks normal, but the more you look at the simple wooden house in Isabella Byrd's slanting light, the more you mistrust its geometries. What the hell is going on? Arbery is playing with a sunny-Texas-weekend version of Lovecraftian horror-with men providing the terror instead of squid-aliens-while also writing a tightly observed portrait of sisters. A faceless boy tackles Isabel as she starts to have ecstatic visions she complains her God has turned against her, but it’s just the devil next door. Genevieve’s husband Steve (Ryan King) leaves her for someone younger, but versions of him are always still around, demanding attention and praise. The three have their own eerie capacities, which emerge in a few witchy moments, but male menace challenges their power of three. John keeps slipping off-he has things to do in Plano, he says-and other men, even other Johns, multiply and buzz around the women. In Plano, time whips past us, like film on a reel that’s been cranked into high gear. Rosado) melts around the proscenium edge and is suddenly there. It’s later, here he is.” John (the superb Cesar J. ![]() ![]() Anne is pregnant, and she’s telling her slightly shocked sisters about her new lover John. On a seemingly normal wooden porch in Texas, Anne (Crystal Finn) rattles through a conversation with bossy Genevieve (Miriam Silverman) and fragile Isabel (Susannah Flood). If other parts of this high-weird comedy don’t have the same precision and surprise, it may be because the first moments have worked too well: Our thoughts have been accelerated to fruit-fly speeds, so the later sequences strike our newly superperceptive brains as a little slow. They look like one thing (three sisters chatting on a porch) but they are another (a reality-bending boot camp for the mind). The first 15 minutes of Will Arbery’s Plano are experimental-theater perfection.
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