Five Questions with Jess Barbagallo
“I really wish I knew how to drive.” – Jess Barbagallo responds to FIVE QUESTIONS
Yearly Archives: 2016
Post-Rock and the Dance: A Bromance
Which bodies rocked other bodies? Was the whole work rockin’ enough, man?
Faustin Linyekula at FringeArts Philadelphia
Being an artist is another way of negotiating a place as a citizen.
PHAEDRA(S) at BAM
The trouble and the treasure of writing about modern adaptations of ancient myths is that there is too much context and too many references from centuries of retelling and analysis, so that I could read about Phaedra the myth and Phaedra the woman for the
Mamela Nyamza Opens 5th Queer New York International Arts Fest
Queer New York International Arts Festival Opens with Mamela Nyamza
Aubergine: an eggplant by any other name
Aubergine is a tender story of food and family, and the ways we express our love.
Boris Charmatz at FringeArts Philadelphia
I think, protectively, “I hope it’s not too hot for her here.” I want her to have a nice day.
On BLOSSOM at Dixon Place
The first time I tried to attend Blossom, at its Henson Carriage House residency in April 2015, the world of texts and trains conspired against me so I ended up stuck in the lobby area with the house manager for the duration of the show,
Furious Capitalism or Fascist Consumerism: Notes from “Pylade”
Maura Donohue reflects on the political relevance of La Mama’s production of “Pylade” in NYC and on tour in Europe.
The Unrelenting Grip of Ellen McLaughlin’s THE TROJAN WOMEN
Haley’s production fully commits to its fearless examination of the monstrosities of war, and offers an in-your-face look at the suffering women are subjected to on behalf of men.
The Youthful Circle of THE WOLVES
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.
Just Because You’re the First Doesn’t Mean You’re the Best, or “Get the Cheese Plate”: the Immensely Gratifying Return of THE BLACK CROOK
I sauntered into McSorley’s just as my phone jingled. Moe Yousuf was running late; the trains in Brooklyn were to blame. My eyes met Josh Gelb’s as soon as I looked up from my screen. He, too, had just read Moe’s missive. At the same