In the latest from the “autoteatro” auteur, Hampton delivers a stinging indictment of global capitalism that provides more symptoms than diagnosis
Alias Ellis Mackenzie was one of the shows I was most looking forward to this Fringe. I had never seen anything by Thaddeus Phillips and his company Lucidity Suitcase Intercontinental before, but his work has been featured as some of the community’s favorite Fringe pieces
Maura responds to Yasuko Yokoshi’s ZERO ONE at Danspace Project.
Despite the rich potential, “Chambre” replicates problematic interpretations of Genet’s play dating back to the 1950s
Confession: I am a King Lear fangirl (#teamlear anyone?). I’ve watched Akira Kurosawa’s version Ran (oh I don’t know) fifteen times? I even made sure to catch Uli Edel’s King of Texas (it’s real) starring Patrick Stewart as “John Lear.” I wrote a screenplay adaptation
Open Spectrum Dialogues @ New York Live Arts, Produced in Association with MAPP International Productions and Critical Partner, Culturebot.
Rennie McDougall responds to Joanna Kotze’s FIND YOURSELF HERE at Baryshnikov Arts Center.
Alaina Ferris chats with Gelsey Bell about thingNY’s opera THIS TAKES PLACE CLOSE BY.
Andy’s report from Festivals Edinburgh and the Momentum Symposium.
“Does art actually DO anything? That’s very nestled into my concept of time travel.”
This energetic, highly polished multidisciplinary event accomplishes its goals…and that feels complicated.
Pushing boundaries was at the heart of Jean Genet’s seminal literary work, Our Lady of the Flowers, which weaves a highly sensational tale of promiscuity and murder in the seedy underbelly of Paris. Our Lady of the Flowers, written in 1943, became a major influence