←Recommendations of 1999

A magnificent play that plumbs the depths of a broken industry and its problematic products. A truly brilliant exploration of traumas, both personal and public that leave us with resonating questions. Stacey Isom Campbell brings to light the complexities of an abusive culture, the dilemma of art and its creators, and how we must recognize the intricate spiderweb of popular culture.

Stacey Isom Campbell has written an excellent three-hander that is both heart-rending and beautiful. 1999 skillfully explores so many questions about abuse, assault, friendship, and how we interact with the past.

A complex and thought-provoking story full of complicated characters. The narrative format and time jumping effectively reveals the drama and tragedy of the characters. I found myself both loving and hating the characters (in the best way possible), surprised by the twists and reveals, and audibily gasping at times. I watched the video recording of the 2024 Valdez Theater Conference reading (since I wasn't able to watch it live).

I saw a reading of this at the Valdez Theatre Conference. This play generated the most discussion of any play I saw during the week. The question of how do we separate the art from the artist was key. Do we cancel all of Miramax films? The play features a compelling lead character who struggles with her life choices. Making the best of bad situation can look entirely different in retrospect. Very worthwhile play. Well done!

Well, this hit me where I live - and if, like me, you long for the far more artistically adventurous and meaningful film culture of decades past, but are horrified by the world which created that culture, 1999 will hit you good and hard as well. Campbell's writing is fearless, and her tale of ambition and complicity is willing to ask unsettling questions about just what exactly cultural reckoning looks like, and the public and private costs we're willing to pay for it. Terrific work.

1999 is tragic, full of questions that don't have direct answers. What lasts? What deserves to be - needs to be - discarded? Who atones, and who's to blame? What does courage look like in the face of abuse, of power differentials that threaten to steal someone's agency? Emma. Naomi. Teresa. : they exist in relationship to one another, and yet float on their own islands, their deepest parts unknown. They circle each other like a camera, inviting the audience to sit with the questions. Stacey, as usual, has brilliantly found moments of nuance that shatter preconceptions. Beautiful and haunting.