![]() ![]() Gaiman’s much-loved “The Graveyard Book.” Much of this is in the story theater vein, with the months narrating the characters’ actions. ![]() The distinctive storytelling genius of Neil Gaiman has been acclaimed by writers as diverse as Norman Mailer and Stephen King. (What of the other seven months? I guess it’s a very short year.)Īugust offers a standard-issue chiller February, a sad romance May, a metafictional jumble March, a bit of faux-Victoriana and October, an early version of Mr. A collection of more than twenty-five short fictional works follows a theme of the intersections between life and death, perception and reality, and darkness and light. ![]() Wearing ragtag clothes and the sort of stage makeup that resembles a wasting disease, they take turns telling anecdotes and legends. On a set bedecked with cobwebs and dead trees, five performers (including the director, Michael McQuilken) play various months of the year. In “October in the Chair and Other Fragile Things,” an enjoyably eerie if overwrought piece, the ensemble adapts yarns plucked from “Fragile Things,” a collection of miscellany by the fantasy writer Neil Gaiman. Old Sound Room, a young company built by recent Yale School of Drama graduates, has five on offer. So what’s the right kind of story for this time of year? A spooky one, of course. A sad tale’s best for winter, Shakespeare tells us. ![]()
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