Everything is there where you got nothing left. Dan Safer at La MaMa Moves, finally.
Dan Safer is the devil you’ve been dying to dance with and Ae Andrea’s enviable lines and swag make them an optimal fiend friend for that card.
Everybody Hates a Tourist: Romeo Castellucci Visited America, and Makes Clear He’s Picked Up Some of Our Worst Habits
In summary: This should shouldn’t have been put up, here or anywhere
Paul Swan is Dead & Gone
A composite of quite ordinary gestures that combine to make something novel, much in the way the entire play uses old poses in service of a show much more than an aesthetic or expressionistic dance.
Playwright Kate Tarker in conversation with director Dominique Serrand
But no: There is one, really stupid joke, and we made sure that we put it on an altar, as: This is the stupidest joke. Do you want to hear it loudly, and pronounced with such courage?
The Literacy of Delight – In Conversation with Bailey Williams and Sarah Blush
You can get close to truth but you can’t ever – in my opinion – I don’t think any story is ever true.
floating a queer celestial in Ni’Ja Whitson’s “Oba Qween Baba King Baba”
Ni’Ja Whitson queers divine kingdoms with cosmological meetings amidst a swirl of lineage, legacies and streaming star scapes. Salve.
Both Lynchian & Eno-esque, PLANO Swirls Ever Inward
If life is a race, all the characters here are lagging behind the leader, just hoping to keep up and find space to breath amidst the density of inevitable heartbreak that comes along with living.
In Response to Celine’s MAGNUM OPUS
I will not say “I’ve grown up” since then, because truly I see this acceptance of paid monotony as a bit of my idealism seeping out. A necessary bloodletting, at long last, giving up my mulishness in favor of a little ability to tame the storm that was my inner mind each day and each night.
The world according to Nicky: “now my hand is ready for my heart” at La MaMa
After over a decade hiatus in making work, with “now my hand is ready for my heart” downtown icon, Nicky Paraiso gushes forth while looking back on several lived lives in Nickyworld.
The Verisimilitude of the Mad Ones
I’m not sure I would call Mrs. Murray’s Menagerie a play, as such, if only because a play suggests an exterior blueprint which is then built or enacted by a group of performers and designers. The Mad Ones appear to build out – they start with what is generally interior, a collection of tiny behavioral tells that shape human intention, and construct around it.
Tying Tongues and Opening Hearts in Yilong Liu’s JUNE IS THE FIRST FALL
Yilong Liu is a Chinese-born playwright who writes plays in English. Michael Leibenluft is an Obie-winning, American-born director who directs in Chinese. Together, they’ve been working on the New York premiere of Liu’s play, June is the First Fall in a production by Yangtze Repertory
The Story Variations of MARJANA AND THE FORTY THIEVES
through sharing, repeating, layering, and rephrasing, the company finds a way to both underline and subvert the brutality without explicitly pointing at it.