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The deep, gnawing tension that ripples through this “Glass” exists less between Karin and the others than between the two realities she inhabits (and between which she feels she must choose). Rosenfield, the production as a whole never builds as strongly as it needs to its shattering climaxes. But despite earnest and sometimes biting performances by Mr. Leveaux (who also staged the current Broadway revival of “Arcadia”) elucidates the blurring of lines within family hierarchy, and the constantly reversing roles of parent, child and lover. Of course those tensions are magnified when you’re waiting for one of your little party to crash and shatter. I find myself staring into the abyss.”) The play is savvy about the ways alliances and erotic affinities shift and bend when you throw a small group - especially a family group - into isolation. “Glass” makes evocative use of the notion that while family vacations are “supposed to be relaxing,” as Karin observes, “in fact they’re just lumps of time without any distractions.” (It is typical of the overkill in the script that Karin goes on to say, “We spend our whole lives turning our faces away and then we have all this time and we. But if you want to experience the shock of illumination that acting, at its best, can achieve - and only occasionally does - you need to see Ms. Mulligan makes sure that we, too, feel that gravitational force, and it is not an easy sensation. Mulligan’s character, is on vacation with the members of her family, and she wants more than anything for all of them to get along.īut as hard as she tries, Karin can’t stop feeling the pull of the shadow world inside her, a world that starts to seem more real than any external existence.
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On other occasions she is lovely and ingratiating company, at least on the surface. There are moments when this extraordinary actress behaves with an ugliness and ungainliness that people reserve for those moments when they’re sure they’re alone.
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Mulligan creates the illusion of someone who has no idea that she’s being observed. Portraying a young woman sliding into insanity in Jenny Worton’s stage adaptation of Ingmar Bergman’s 1961 film, which opened on Monday night at the New York Theater Workshop, Ms. Even in this age of celebrity sex tapes and nude snapshots on Twitter, watching Carey Mulligan in “Through a Glass Darkly” feels like a major invasion of privacy.