Adaptation of August Strindberg’s Creditors by Steven Young

Produced by Broken Gears Project Theatre Company, February, 2011 – Dallas, TX


Mark Lowry Theatre Jones
Steve Young has adapted the script, which keeps the feel of the era and Strindberg's intent. With this play and a few others, Strindberg experimented with naturalism, or "neo-naturalism" as he called it. Here, the adapter, director and ensemble play that beautifully.

Christopher Soden Pegasus News
There’s a kind of script that has a thoughtful, austere, introspective energy to it. There’s a great deal of ruminating and exploration and fencing, but it’s measured. Paced. The emotion is implied by the actor’s struggle to hold it back. This has been my experience with Chekhov and Ibsen and (in film) Ingmar Bergman. Last night I felt it watching August Strindberg’s Creditors. Perhaps it’s a European sensibility. None of it feels frenzied or strident or violent or enormous. Yet the tension is there. The text has a great deal to do with conversation and self-exposition. But, true to human nature, information is withheld, sometimes due to the blind spots that come with being in love.

Lawson Taitte Dallas Morning News
August Strindberg seems to be the hardest of the playwrights who founded modern drama to get right. He invented genre after genre, wrote quickly and seldom revised. The Swedish playwright’s subject matter is invariably either tough or abstruse or both. Creditors find him addressing one of his obsessive themes, the war between the sexes. It’s unusually spare and neat in design, however. There are three characters and three scenes, each an intense dialogue between two of them. Steve Young’s translation and adaptation feel more natural than most.

M. Lance Lusk D Magazine
The play’s language is pleasantly antiquated and formal, with some natural and contemporary updates by Steve Young. The lack of an intermission maintains the tension and compactness of the action.

Lauren Smart SMU Daily Campus
It's as if the audience is there: a fly on the wall in one of the tensest situations that August Strindberg imagined. Steven Young's adaptation of Strindberg's 1889 show seems to place the audience inside the fourth wall of the hotel room in which the uncomfortable events unfold between Tekla and her first and second husbands.