A response to The Krumple’s ‘YOKAI: Remedy for Despair’ via the questioning of how one responds to art and how dependent that response is on form and location.
I could go on, you should go on for me, counting heros not yet fallen.
“If a clone was made of you, would you sleep with it?”
When one goes to the beach, does one lie on the sand and watch the water? Or does one wade in until they can barely reach the bottom?
In my early playwriting days, back when the majority of play submission opportunities had to be printed and mailed, it used to be very common to come across a submission guideline such as this one: “All submitted plays must be formatted according to accepted industry standards.”
Oh My God That’s Kevin Kelleher – Or, Does Specialness Only Exist In Your Mind? A Discussion with Tiny Little Band.
Stefanie and Jerry, in the midst of a mysterious project that I now know addresses (among other things) heroes, myths, and specialness, are experiencing, as a result of the process, a transformation in their thinking regarding such things
Benson’s voiceover technique does all the good stuff and almost none of the bad stuff that you usually get from utilizing a narrator in the theater.
DeLappe presents us with a wholly updated picture of youth, in which social awareness has supplanted willful ignorance. The competitive and constantly shifting pecking order within their social hierarchy remains ever brutal, but the battleground is changed. This, along with the fact that we see nine (and eventually ten) women on stage, is what makes The Wolves a unique signpost within the world of new plays.
A response to Mia Rovegno’s ‘nothin’s gonna change my world’
#liberated, a play created by The Living Room and conceived and scripted by Lillian Meredith which runs at IRT Theatre through June 19th, employs two play structures simultanously with intriguing results. On the one hand, it’s a morality play, in which a group of women
Ms. Drury, without being too showy, infuses our experience with evocative contradictions, challenges, and perceptions of imagery, some of it imagined, but somehow, magically, some of it real, pulled from our own memories and allowed to commingle with our internal experience of the play for a split second.
A response to CAENIS at the Pace Gallery through March 19th.