“The play often asks how do we examine our lives between birth and death. Those things are inevitable. It’s everything in between that we can’t seem to figure out,” Chamberlin said. “Every day, the script has been challenging with revealing the dialogue. It’s not realism. His style has been called heartfelt deadpan. The thing that’s been most exciting for me is working with the cast in communicating Eno’s ideas and feelings.”
Read the article at Fairfax Times.