Thom Pain (based on nothing) by Will EnoDecember of Drama 2015, day nine
Full disclosure: this play was brought to my attention by Joseph Fink and Jeffrey Cranor, also known as the men behind Welcome to Night Vale. During their Q&A and reading at the Music Box theater, they didnt exactly recommend it but rather pointed to it as a major influence on their writing style, something theyve consciously tried to emulate. That obviously counted as a recommendation, in my eyes.
Well now. Ive seen this described as indescribable (haha), and thats about right. I can only say that its the most effective meta drama Ive ever read-- genius, modern-day Beckett stuff. Will Eno manages to mine humor out of the most deeply painful insights, delivering a kind of crushing, true-to-life sadness thats flavored with surprising and bittersweet laughter. Its abrasive, depressing, and hilarious.
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Off Broadway Review: ‘Thom Pain (Based on Nothing)’
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Thom Pain based on nothing is a one man show written by Will Eno. It is a rambling monologue in which the protagonist, who has suffered a lot in his life, tells the story of a bee sting, a boy with a dog that died, and his experience with a woman. The play started as a reading at the Soho Theatre  and was then performed at the Edinburgh Festival Fringe in The play next opened in London at the Soho Theatre, running from 3 to 24 September Hall and directed by Oliver Butler.
And with a handsome, self-assured Michael C. Hall in the role of Pain a last name that shrieks volumes , he appears as less of a lost cause than he once did. I may have wanted to take a shower immediately, but I was also electrified by the original, full-frontal attack on the audience that Mr. Eno had engineered. When Mr. Butler and Mr.
The Michael C. The monologue play tells the story of a man who is desperately and comically trying to save his own life. The Daily Beast Tim Teeman.
mother of my grandchildren poem
Being face to face with the modern mind? And, in the end, it does, because the play was deliberately designed to make us uncomfortable about all the supposedly immutable verities, from the objective reality of our common language to truth itself. The play started life at the Edinburgh Fringe Festival. From there, it transferred to London and then to Off Broadway in , the same year it became a finalist for the Pulitzer Prize. Like its literary antecedents, it feels timeless. Right from the start, this intentionally undefined character toys with the audience and continues doing so throughout the show — cruelly, not kindly. We actually cringe when he asks for a volunteer to join him on stage.