Context is everything. At least that's the impression I had on leaving The Actors Company Theatre revival of Frank Marcus's 1965 multiple prize-winning play, The Killing of Sister George, at the Beckett.
Ghosts, both alive and dead, haunt the rural Irish pub that is the setting for Conor McPherson's captivating and lyrical play The Weir, now in a first-rate revival at the Irish Repertory Theatre as part of its 25th anniversary season.
Michele Bachmann herself has refused to provide details about her foster children. But given her penchant for exaggeration, don't we have a right to know more about her foster parenting and just how many children this actually involved?