This is Peter Pan set in a dystopian futureland, the music acting as a remnant of a memory of a time when feeling was more possible, when childhood was more innocent; before we found ourselves up against a neon wall, staring out at the void, attempting to determine if we’ve (finally, like Peter did when he flew back one night only to find the window closed against him) reached a point of no return.
MADONNA col BAMBINO is written by Sarah Einspanier, composed by Deepali Gupta, directed and developed by Caitlin Sullivan. Structured like a speculative science fiction mass, the play is trippy, eerily precise, weirdly reverential, profoundly moving and deeply funny. It runs July 18th through July 21st at
Tamara Sevunts is a Canadian-Armenian actress, originally from Montreal and now based in NYC. A graduate of the American Academy of Dramatic Arts, she is fluent in six languages. Off-Broadway credits include: “Your Alice” (BAM), “Daybreak” (Beckett Theatre), “The Good Girl” (59E59 Theatres) and “Loose
How do you deconstruct a deconstruction?
These moments of transparency and revealed infrastructure are strictly intended.
One woman’s refusal to participate in the social straightjackets necessitates another’s sacrifice; the hollower’s women are negatively bound to each other in a zero sum game.
Though their insular world went weird, and quickly, I was there, because they were there. Davis and Markey have the attunement to one another that only comes from a sustained exposure to the other’s way of standing, talking, moving, being-in-the-world.
The history in the text (of lobotomies, of white-male explorers, of colonization) becomes compressed: events, accidents, happenstance, and mistakes, become “like layers of snow into a glacier.”
The La MaMa Moves Festival, now in its 13th season, opens Thursday May 10. Curator Nicky Paraiso and artists Ellen Fisher, Jonathan Gonzalez, Adham Hafez and Ni’Ja Whitson recently shared some thoughts about their relationship to the festival.
mayfield brooks, jumatatu m. poe, and the I Moving Lab are part of aa three-week series conceived and curated by Marýa Wethers at Gibney Dance highlighted “intersections and crossroads among Blackness, queerness, and Indigeneity.”
When I hear that two pieces have been “smashed together,” I make certain assumptions. If I read “conceived by” or “created by the ensemble,” I expect a piece so thoroughly picked apart and put back together, it barely recognizes the original source material. At the
Her quizzers and yelps, the need of her sound, the holes in her anger revealed through the unsteady rocking of her delivery, created the tapestry that was her performance.
