Author: Eve Bromberg
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In Conversation with Cam Cronin on Geraldine Realigned At The Brick Theater: Scrappiness, Gayborhoods, and a Close Collaboration with Billy McEntee.
Geraldine Realigned Drives from Gay Place to Gay Place and You’re in the Car Too ostensibly follows a drag queen, Geraldine, on a road trip working her way through a […]
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On The Associates’ “Redemption Story.” In Conversation with Peregrine Teng Heard and Sarah Blush
A few pages into the script of Peregrine Teng Heard’s– playwright and artistic director of The Associates Theater Ensemble– newest play Redemption Story, I could sense its implicit political message: […]
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An Interview with Jesse Freedman on “The Banality of Evil” at The Brick
“Banality of Evil, as a phrase,” Jesse Freedman the Artistic Director of Meta-Phys Ed. told me on the phone last week, each of us speaking from our respective Brooklyn […]
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The Effect: The Sublimity of Performance
If it weren’t for my erudite Anglophile cousin, I would never have known to see Lucy Prebble’s The Effect at The Shed (from March 3-March 31). An early Prebble fan, […]
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Joey Merlo’s On Set With Theda Bara: An Embodied Physical Performance and A Window Into An Artist’s Mind
The first time I saw David Greenspan perform was in Adrian Einspanier’s Lunch Bunch this past spring at the 122 Community Center in the East Village. I didn’t know […]
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Annie Wang’s “had my mouth” Offers Self-Protection Through Lyrical Movement
Were they bearing their teeth in preparation to kill? Screaming silently in agony? Conjuring lost joy of their youth?
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“When The End Becomes The Beginning:” Okwui Okpokwasili and Peter Born’s adaku part 1: the road opens
Adaku’s forced departure forever alters her connection to reality — she is absorbed into the unknown, which marks the start of our inquiry. Her trauma, epistemically, is our starting point.
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On NYCB’s 75th Fall: Leadership, Youth, and Deviation
This fall, NYCB kicked off the celebration of their 75th anniversary dedicating the entire season to the work of George Balanchine, the company’s co-founder and artistic realizer. On the night of October 11th, to memorialize the first-ever performance of The New York City Ballet at New York City Center, the company put on the exact…
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James Allister Sprang at Baryshnikov Arts: Seeking Active “Rest Within the Wake”
Active reflection and associations should comprise our meditative state. If there were moments during the piece that disturbed us, we should return to the breathing exercise to find calm.
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Best of The Summer: Alex Edelman’s “Just For Us” — A Nuanced Exploration of Judaism and Standpoint
Edelman always wanted to be white. ‘I know, I know. Dream achieved!’ he says.
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“Blessed Unrest” Misconceptions: A Mismatched Use of Traditional Theater Mechanics
How for the next few weeks these actors get to tackle conflicts onstage and then return to their everyday lives, undeniably altered. Meanwhile, before me, a performance was taking place. We were involved in something together, the audience and actors.
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Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window” Offers Up Complex Women and Self-Criticism in a Quasi-Solipsistic Depiction of the 60s
There are those cultural events that feel too good to be true – many stars align to create a perfectly satisfying contribution, almost all-encompassing in its thoughtoutness.