Crouch didn’t invent this genre, of course: probably the most famous work of this kind is Tom Stoppard’s “Rosencrantz and Guildenstern are Dead,” which dates back to 1966. That riff on the inconsequential by-standing, though, was comedic of intent, absurdistly so. Crouch has more violent and seditious themes: his Banquo is an embittered settler of scores, looking for vindication not only in the inevitable turn in the wheel of generations (hello, young Fleance), but in the afterlife.
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March 23, 2021 at 12:00AM
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Review: ‘I, Banquo’ at Chicago Shakespeare Theater - Chicago Tribune
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