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#1

Can a show be toooo emotional

Last night 2 people got so emotional at prima facie they had to leave the theatre.

The show is amazing. One of the most powerful evenings I've ever spent in the theatre.

But, it begs the question - can show's be too emotional?"

#2

Can a show be toooo emotional

Perhaps it’s not the show that’s too emotional but something within the show triggering an emotional experience or memory for the audience member.

#3

Can a show be toooo emotional

I think it depends on whether we're talking artistically or from an audience standpoint. To your example of what happened at Prima Facie--no, I think that's an example of it just not being the right show for certain people and being something that could be triggering to some folks who should therefore rightfully avoid it (but that doesn't mean there's a problem with it).

There is, however, such a thing as a show being filled with so much emotion and so many emotional things, one after the other, that it actually detracts from the show (same as how a comedy having every single line be funny with no break in between can detract from the show). So from an artistic standpoint, there certainly can be such a thing as a show being too emotional.

#4

Can a show be toooo emotional

This must not be a rare event at Prima Facie. When I saw it there also was a woman, clearly distressed and tearful, who rose mid-performance, made her way to the aisle and literally ran up the aisle to the lobby never to return. No wonder there is that pre-show announcement about the show's content.

#5

Can a show be toooo emotional

A show can absolutely be too emotional, but what you're describing doesn't seem to be an example of that –– it's more a "triggering" thing.

For me, the idea of a show being too emotional would be sad/harrowing/depressing subject matter, sad ballad upon sad ballad, constant crying onstage, extended emotional breakdowns, and/or little levity. Let us feel the emotions ourselves. It's almost a copout for an actor to let the heightened bawling emotions overtake them for more than punctuation on a larger sequence.

Or something like "Peace for Mary Frances" (that awful Lois Smith/J. Smith Cameron play that Lila N directed at the New Group in 2018), in which Lois played a dying woman and it was relentlessly depressing and most of the characters were unlikeable or self-loathing.

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