![]() ![]() She wears a sexy red dress and assumes a take-no-shit manner. But if you watched her face in certain scenes, there was an unmistakeable mixture of anger and hurt and love - achieving an unusual balance between humor and pathos. Rooftop is motivated to receive absolution because he expects to run into his ex-wife Inez, who has remained in the neighborhood, and whom he wronged in sundry ways.īernstine’s plays Inez, the ex-wife of a character named Rooftop who wronged her. Our Lady of 121st Street, by Stephen Adly Guirgis, 2018 revival And then Bernstine portrays herself (as scripted by the playwright), talking about the challenges of performing – how she once made playing bit parts bearable by imagining she was in charge. The arrival of a new company member so turns her world upside that she goes in search of answers that can only be found off-script. The first is the leading lady of a traveling troupe in the 14th century, during the Plague years. She plays Judy, one of the six people who are attending a silent retreat, and, though there is almost no dialogue, she makes clear the tension she is having with her spouse Joan (portrayed by Marcia DeBonis) The Amateurs, by Jordan Harrison, 2018īernstine again portrays an actress - two, actually. Quincy Tyler Bernstine’s character has almost no lines of dialogue in this play, but more than almost anybody else. NYT Theater NovemSmall Mouth Sounds, by Bess Wohl, 2016 Video: Quincy Tyler Bernstine in a scene from “Grand Concourse” #InPerformance /YmIW4Vxo40 Working in a church soup kitchen in the Bronx I’m trying to work up to two, and eventually five.” She does not wear a habit her choice of vocation was in part an act of adolescent rebellion, and it is now being tested She actually is just using the oven’s timer. “I’ve been forcing myself to pray for one minute. We first see Bernstine’s character, a nun named Shelley, apparently praying to a microwave oven. The play concludes with a long difficult rant of a monologue that she pulled off memorably. Bernstine memorably impersonated Bart Simpson Neva by Guillermo Calderón, 2013īernstine portrayed a Russian actress named Masha in 1905 who is rehearsing “The Cherry Orchard” with Chekhov’s widow Olga. The play riffs on how a future, post-apocalyptic, neo-primitive society would re-imagine its destroyed culture, especially its popular touchstones, most prominently episodes of The Simpsons. ![]() ![]() Burns, A Post-Electric Play, by Anne Washburn, 2013 Her only Broadway role as of yet, Bernstine portrays a young mother in the 19th century who just lost her youngest child and volunteers to be a wet nurse for a white couple. Bernstine drove home both the horror and the resilience of her character Salima, recalling the beauty of her old farm. Marys Seattle, about a nurse/caregiver Ruined, by Lynn Nottage, 2009īernstine gave a devastating portrayal of a farm wife and mother kidnapped by soldiers during the civil war in the Congo and used as a sexual slave. ![]()
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