But the tortoises bring a different element. They seem trustworthy. You can really count on them to play their part.
Director Alexis Confer is in a groove. After three straight successful productions of Shakespeare’s most well loved comedies, she’s taking on the notoriously ambitious, fantastical and wildly dramatic Cymbeline and staging it as a 90’s fairytale in a Vegas casino. There’s money at stake here,
Not more than 10 minutes into Naomi Wallace’s War Boys we see a frustrated young man jerking off to the Pledge of Allegiance. He’s part of a three-man brigade that hangs out for kicks every night on the US/Mexico border, passing the time cracking beers,
harunalee, the wildly imaginative performance ensemble helmed by Kristine Haruna Lee, is transforming The Club at La Mama into a memory palace. The piece is said to be “a little bit cosmos and a little bit party.” Wanting to know a little bit more, Culturebot
Frank Boyd is the sort of supremely talented performer whose craft is so refined it’s nearly invisible. For all I know, he might very well be a sweaty, smalltime jazz DJ who lives on a diet of coffee, peanuts and Charlie Parker in real life.
CHICKEN TENDERS: Peter Whitehead, poultry, and the art of collapse in Sister Sylvester’s They Are Gone But Here Must I Remain
Sister Sylvester’s new piece, They Are Gone But Here Must I Remain, opens with the company’s founder and director, Kathryn Hamilton, cheerfully and pragmatically laying out a few basic facts concerning her subject of interest: a documentary film called The Fall shot in 1968 by
A response to Ion Theatre’s Sea of Souls
Exploring Mary John Frank’s Debutaunt
Buran Theatre’s MAMMOTH: A DE-EXTINCTION LOVE STORY