Running Away From The One With The Knife OFF-BROADWAY REVIEWS

Photo: Brian Rogers
  • NY TIMES

  • Opening Night:
    March 10, 2015
    Closing:
    March 28, 2015

    Theater: The Chocolate Factory / 5-49 49th Ave, New York, New York, 11101

    Synopsis: 

    "Running Away From The One With The Knife" is a play about suicide and religious faith. It’s a memorial and an exorcism for a woman named Christina; it’s the story of her sister, and the monk who is their friend. And none of them are particularly reliable. It’s a stark, slapstick death, in a dreamed kitchen, between half-heard pasts and the present retelling. The play is terse, allusive, full of monologues, repeated short scenes and hastily-scrawled signs that comment on what’s happening. How are you? Okay. Yeah? I think so. I think so!

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  • NEW YORK TIMES REVIEW OF Running Away From The One With The Knife

    In ‘Running Away From the One With the Knife,’ a Suicide Pondered

    Alexis Soloski

    March 17, 2015: Percolating coffee drips into a pot at the front of the Chocolate Factory stage. Boiling grounds are a familiar scent, burbling water a familiar sound, the sort of routine you reach for when the world seems inexplicable, unmoored. Sarah (Juliana Francis-Kelly), a character in Aaron Landsman’s “Running Away From the One With the Knife,” is the sort of woman who clings to habit. A successful lawyer, she likes to clean, to organize, to control. “I do my billing in six-minute increments,” she says. “I’m fastidious about my time so I can measure my life.” But she can’t control her volatile sister, Christina (the playwright Kate Benson), who has made several attempts at suicide. Sarah tries to keep her from harm, ordering an electric oven for her house and hiding the knives. It isn’t enough. After Christina’s death, Sarah tries to bond and to pray with Guillaume (James Himelsbach), the monk cum building super who also tried to save Christina.

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