![]() ![]() The production also featured jump scares facilitated by lighting and sound effects that kept the audience on edge. The actors constantly moved around, forcing spectators to shift in their seats and keep a watchful eye. They kept the audience actively engaged the entire time, in part by using the entire space of the auditorium as their stage, even the catwalks above. Over the course of the play, the actors tackle many obstacles, including their own rocky relationships with each other, moral dilemmas over whether or not to find a way out of the auditorium, and the prospect of being the only survivors of this infectious outbreak. The auditorium doors had been locked in the safety of everyone inside. RELATED: UI’s ‘Borderless: An All Black Affair’ showcased artists and celebrated Black cultureĮventually, they learned there had been an infectious outbreak in Iowa City causing people to behave erratically. Confused as to why no one else in the audience was concerned, they gathered together and tried to figure out what to do next. The actors quickly “realized” that the auditorium doors were locked, keeping everyone in. Neither were Emelia Wenzel, Joey Lepire, or Grayson Block, three other spectators who slowly began to engage with each other in a series of arguments and outbursts. However, it would soon be revealed that Harleston was not an audience member. Like any good audience member would, Dakari Harleston directed him backstage and showed him out. After a long silence, he asked if anyone had seen Trinity since he was there to help her. The audience watched closely as he silently scanned the seats. But a doctor had stormed into the theater. The lights came up, soft background music started playing, and still Trinity had not returned. Tyler Salow, the undergraduate director of “The Lazaretto,” and the actor playing Bobby rushed to Christofferson’s aid and moved her offstage, leaving the audience to ponder the authenticity of what had just happened. Such expectations were completely subverted when Trinity Christofferson, the actress playing Bobby’s mother, passed out during the first scene with a bloody nose. He had been diagnosed with an illness that was preventing him from being around other kids, and he was waiting it out at home.īased on this exposition, one could begin to set certain expectations for the play, assuming it may be a piece about family relationships in the face of adversity. ![]() The woman revealed that the sleeping boy on the couch was her son, Bobby. The play opened with a woman’s voice floating in from offstage, instantly perking ears from the silent audience. 14-16, “The Lazaretto” took center stage at the University of Iowa Theatre Building. There was only an actor sleeping on a couch on the stage, wrapped in a blanket.įrom Oct. There was no program provided at the door, no cast list, and no precedent set by other performances. Join 50 and Charlie for this unforgettable rollercoaster of a story starting Wednesday October 19, on the iHeartRadio App or wherever you get your podcasts.No one knew what to expect when they took their seats in the Alan MacVey Theatre on Friday night. Speaking publicly for the first time ever, Chicago-born identical twins Jay and Peter Flores share the incredible story of how they went from dealing $2 billion worth of drugs across the country as North America’s most successful cocaine traffickers, to government informants who brought down the infamous drug lord, “El Chapo.”įorever taunted by the gnawing question of “Did we do the right thing?” the brothers’ decision has cost them permanent exile from eachother, their father’s life, 14 years in prison, and a life sentence of always looking over their shoulder, waiting for their enemies to take revenge. Brought to you by Lionsgate Sound as a world exclusive with iHeartPodcasts. Hosted and executive produced by award-winning artist and producer Curtis ’50 Cent’ Jackson and broadcaster and journalist Charlie Webster. Surviving El Chapo: The Twins Who Brought Down a Drug Lord
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