![]() They will do this by making memories of their time together through the little details. Abigail and Shaun Bengson in ‘100 Days’ at The Public Theater (photo courtesy of ) Shaun’s death is a terror she cannot confront with him, so she tells him nothing, gathers her creative resources, and together they decide to speed up time so that they will live a full lifetime in 100 days. And the doctor tells her that a creature within Shaun’s bones will cause his death in 100 days. She senses part of the dream is coming to pass, for the other side of the dream is a doctor’s office. The first week she is with her man, three beloved people die. Like all lovers, Shaun develops the dread that this relationship and “the woman he has been waiting for all of his life” will find a reason to ditch him.įor Abigail, the fear travels deeper in her soul. How she releases her former boyfriend, like an afterthought, perhaps gnaws unconsciously at Shaun and throws a shadow over him, though Abigail has given him no cause. It is so easy between them that Abigail decides to end her relationship with her boyfriend and move in with Shaun immediately. Indeed, the moment she meets Shaun, like Gala and Dalí (Gala left her husband Paul Éluard right after meeting Dalí at a party), they go to a diner. Shaun’s terrible worry is that this fantastic woman whose beauty is opening up like a flower before him will eventually abandon him. The music reflects this transformation and the pace heightens and becomes more frenetic and dramatic. Bubbling up from some primordial swamp in their consciousness come elements of fear and invisible anticipations which play a strange chord of misery around their mutual love. Abigail and Shaun Bengson in ‘100 Days’ at The Public Theater (photo by Dan R. This music is a kaleidoscope of joy and energy that indefinably sizzles as folk, punk, fusion, blues, rock, jazz and more. Their songs catapult us through the whirlwind of love, and Shaun shares one of the eight songs he wrote as a consolation for Max, who would have moved in with him in NYC if Abigail hadn’t happened. As their imaginations envelope each other and their selves combine, exchange, and morph, together as one each finds and reclaims a new person. ![]() This shockwave romance propels them toward the dizzying heights of a beautiful mountaintop and to the terrors of the darkest recesses of the caves of Goa. Though Shaun did not have a dream, he is convinced that this woman is “the one.” Because of her dreams Abigail is convinced that Shaun is her man but what are those dreams that she also finds fearful? She relates fragments, like he is in a “beam of light,” but as with all dreams neither she nor we can initially make sense of their prophecy. Her dreamscape saunters and storms through their relationship and provides a good deal of the show’s prophetic euphoria and terror. Shaun and Abigail they moved in together immediately and got married within a span of three weeks.Īfter introducing themselves to the audience and discussing their rather uneventful, sad-sackish, un-tumultuous lives, Abigail humorously lowers her spanx (because “this shit is about to get real”), and tells us an opaque dream she has had about the man she will love and marry. ![]() The production is Abigail and Shaun Bengson’s exploration of their feelings and the events during and after they first met at a music festival and, like surrealist lovers Salvador Dalí and Gala, decide to be together. If you are ready for a fabulous production, part of the Under the Radar Festival at The Public Theater, then you must speed your way down to Lafayette Street to see this thoroughly enveloping show. Winters)ġ00 Days is nothing short of life, truth, a jamboree of music styles and genres, innovation, heat, darkness, and flights into the outer space of terror and cataclysm that only intense love can generate. Further Developed and Produced Off-Broadway by the New York Theatre Workshop on December 4, 2017, Jim Nicola, Artistic Director, Jeremy Blocker, Managing Director.Abigail and Shaun Bengson in ‘100 Days’ at the Public Theater (photo by Dan R. Hundred Days was originally developed and produced by Z Space, Lisa Steindler, Artistic Director and piece by piece productions/Wendy vanden Heuvel. The album is produced by The Bengsons, Ian Kagey, and Kurt Deutsch, with Erica Rotstein, Seaview Productions, Dashboard Lights Productions, Alexander R. The recording features the cast of the recent production at New York Theatre Workshop: Colette Alexander, Abigail Bengson, Shaun Bengson, Jo Lampert, Dani Markham and Reggie D. The show was directed by Anne Kauffman with movement direction by Sonya Tayeh. Hundred Days features a book by The Bengsons and Sarah Gancher, music and lyrics by The Bengsons. ![]()
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