Tone-deaf and half-baked, Ivo van Hove’s adaptation of “The Fountainhead” flounders onstage
Perforations Festival brings us into direct responsibility for the execution of artistic ideas and challenges the passive stasis of sideline observation in a mostly successful series of performances that ripped apart conventional norms.
How do we resolve our needs for nurturing, intimacy (implied individualism), and safety with our fascist reality?
Audrey Moyce responds to TOYS: A DARK FAIRY TALE at 59E59.
Parson slowly and deftly reverses the lens, edging away from the endlessly verbal Sam and leaving us with only Bess.
You could call it an exploration of the butterfly effect on a schizophrenic scale.
While the spirit remains centered, the chorus spins wildly out of control – dispersing, translating, perverting, transmuting, contextualizing Thomas Paine’s words with deliberately mixed results.
Maura and Eugene de Poogene yelled over really loud music with Croatian curator and producer Zvonimir Dobrovic about his “Perforations Festival” – opening Friday.
We’ve written a very hopeful apocalypse.
Deepali Gupta responds to VEIL’D at the Astoria Performing Arts Center
The bits of conversation that don’t quite work suggest a weirder reality lying under the normalcy we see, a reality which seems to bubble more and more to the surface as the day wears on.
Jeremy M. Barker and Matthew Goulish discuss Every house has a door’s “The Three Matadores”