"What shines through the production is the direction of Gian Marco Lo Forte. Lo Forte elegantly arranges the choppy segments into an effervescent daisey chain of chaos and calm. His most intriguing segment involves a childlike wooden doll, which dreamily bounds across a burlap road before falling headlong into a textile mill. Although we’ve all seen dolls before, Lo Forte provides a unique and somber spin on a performance element we’ve all seen before."
"I knew pretty early on that, done well, the work could offer a sense of transcending traditional time and space values. I always felt extremely blessed out, as if my nervous system had been reset, after watching a run. I was aware that I was asking people to view with fewer expectations, and to slow down some of their habitual ways of responding and defining what they see. Part of my goal was to create a environment in which people could really SEE the miracle of the body as it is, as we all are, rather than the pyrotechnics of what a few of us can do."
"The play mainly tells the story of Winsome’s charming, eccentric, troubled mother, Mary Brown or Mum as she is called throughout. The drama came to life in the writer’s Tribeca home on Hudson Street in 2014 and that is also where it was first performed. In a bid to find out how people would react to this compilation of some of the wilder stories of her mother’s life, Winsome and director Brad Rouse invited small groups made up of theatre pros and locals to see the play in her home. “It was very intimate,” she explained recently by phone, speaking in a distinctly Irish accent that her mother drilled into her during her childhood in Canada. “There were no lights and the room is pretty small,” she said. But over wine or cups of tea after the play, she discovered that many people were profoundly touched by her memoir-drama. “I think it’s because everyone has a mother,” she said."
