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Praise God and Pass the Banjo: Cult of Love
Strains (musical and otherwise) within an American Christian family.
John Lee Beatty’s set clues you in early to the oppressively cozy vein that Headland and the director, Trip Cullman, are mining: We’re inside a Connecticut farmhouse so overdecorated it speeds past Martha Stewart to land on the eerie side of Thomas Kincade. Cult of Love, subtitled “Pride,” marks the last in her series of plays about the Seven Deadly Sins, including Assistance(greed), about working for a mercurial boss, and Bachelorette(gluttony) which covered the coke bender of a trio of frenemies and became a film. Cult of Love has a lot of dramatic relatives, including charged family gatherings like Cat on a Hot Tin Roof and the singing sisters of The Hills of California across the street, but the homophone in the “Dahl” name inevitably invokes Ibsen.
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