A young woman selling flowers on a street corner? Named Eliza? Sound familiar? Unlike George Bernard Shaw’s heroine, this Eliza (or Elisa… She’s Eliza in the synopsis, but Elisa in the script) is well spoken but has no apparent thirst for an education with which to expand her mind or better herself. In an exquisitely crafted near-monologue, Cooperman deftly exposes the lack of critical thinking skills and intellectual curiosity, as well as the willfully arrogant stupidity of the self-satisfied, plaguing contemporary society. It’s an extraordinary tour de force for an actress, and an education...
A young woman selling flowers on a street corner? Named Eliza? Sound familiar? Unlike George Bernard Shaw’s heroine, this Eliza (or Elisa… She’s Eliza in the synopsis, but Elisa in the script) is well spoken but has no apparent thirst for an education with which to expand her mind or better herself. In an exquisitely crafted near-monologue, Cooperman deftly exposes the lack of critical thinking skills and intellectual curiosity, as well as the willfully arrogant stupidity of the self-satisfied, plaguing contemporary society. It’s an extraordinary tour de force for an actress, and an education in itself.