Enron (Modern Plays)

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Scene seven with the security officer where Skilling started acting delusional after losing his power was enjoyable to read, mainly because I really disliked the character.

I also remember seeing that this production was up on Broadway and was very curious to check it out because it seemed very surreal at the time for me to see a production about a real event to include like a singing chorus and raptors running around the stage.As with any fictional work based on people who are still alive, I couldn't help but wonder if the Enron players were aware of this play and how they felt about it. The dialogue is crackling, with a lot of really great lines, but the people who are saying them don't ever really feel fully formed. Even financial innocents can follow this as Fastow shows boxes encasing ever smaller boxes lit by a flickering red light symbolising the basic investment. I mean, this is the issue with reading a play in general, and I'm sure that seeing this staged with some really great actors would make this a more engaging experience. The Guardian 's critic Michael Billington speculated that it was The New York Times ' "hostile" review that contributed to its premature closure.

This describes a fetid cesspit of humanity at its worst, filled with toxic masculinity, crass behaviour and obnoxiousness as standard. The characters were risky but not enough to be questionable, and Skillings development (or lack there of) was the best part of the play. There are bastards in the boardroom and raptors in the basement, as the company begins to eat its own debt, drunk on insane free market economics, and engineering blackouts across California.The world premiere production of Lucy Prebble’s celebrated new play ENRON sold out its entire run at the Minerva Theatre Chichester and sold all 21,800 tickets before opening its six-week run at the Royal Court. I read this in an English Seminar Junior year and loved how it bridged the gap between my two majors — the play doesn’t allow for too many intricacies of the scandal, but it is an excellent high-level into one of crazier fallouts in our lifetime. The final sense of justice for Fastow and Skilling, very satisfying, and Claudia Roe’s final word, a thrilling “I told you so”.

What needs stressing equally strongly is that it is also hugely entertaining—and accessible even to dunderheads like me who wouldn’t know a financial instrument from an instrument of torture, though they currently seem to be much the same thing…She also knows how to construct a play, moving from savage black comedy to something approaching, classical tragedy as Jeffrey Skilling, the company’s ruthless and brilliant CEO who was sentenced to twenty-four years in jail on fraud and conspiracy charges, reaps what his own hubris has sown. Not only is this an exceptionally conceived story, it taught be a huge amount about financial systems and the banking crisis.

I've yet to experience much else in the genre, but what strikes me most about Enron (the play) is how . i will definitely be reading again - mostly because i ahve to, the play won't revise itself - but i am sure i will emjoy it a second time. And AFTER reading this play, I'm not sure to what extent I know the Enron scandal, but I certainly know more at the end than when I started. And, if nothing else, it's a valuable piece of theatre for revealing the inner machinations of an industry that the average Joe knows little about.