Year: 2018
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Theater and Intimacy: A Conversation with Caitlin Ryan O’Connell & Xandra Clark
In Polylogues, the audience is watching me, and specifically me trying to listen. You’re watching that effort.
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Sex Werk: Jeremy O. Harris’ Slave Play
If fantasy has the power to instantiate, and maintain such debilitating power structures, could it also be the very force required to undo them?
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to go is to be going, but not to get there – Mina Nishimura & Julian Barnett Double Plus
Here, thoughts are freed from linearity or reasonable binds. There, processing systems allow the universe to expand and retract as an infinite sponge. Where bodies transmute from human familiars to alien exotica.
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The Watching of THE MAKING OF KING KONG
The Making of King Kong sets out to unpack the monstrosity of our current cultural moment via the monkey, simultaneously evoking a 1930s acting style (transatlantic accents abound) while complicating itself with very-much-now identity politic-infused dialogue.
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“Cutting through chit chat kit kat” with Gideon Irving
the art that really connects to me is about the little tiny very specific pieces of life, always needing to retie your shoelace, the way your kid wipes his tears away with his palms, the way someone’s hair looked under a neon sign, the oddly beautiful mold encasing a dead bug at the bottom of…
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Mia Barron on THE WHITE ALBUM
I’ve found it terrifying at times, and surprised about how different it has felt for me. But it’s brought a deeper sort of pleasure, not least of which is that I am so proud of what we’re doing.
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Extended Play(fulness) & Big Dance Theater’s Antigonick
While the subject matter is dead serious, the style and aesthetic approach feels giddy, unafraid of big stupid choices when they’re appropriate.
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An Old Archetype of Lonesomeness, Anew
We eventually spend less time on saddles and hats, and more time on trying to get inside that frictional feeling of being pressed into a hookup’s smelly, hairy crotch while he calls you “pretty.”
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No Worries / No War Zone: Theater of the Chill in Ben Gassman’s Independent Study
What does it do to the modernist play, the living room drama, I wonder, when there is no living room, when there’s no home at all? Where does the play go?
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Five Questions with Annika Vestel
I like to provoke an internal movement in the audience, something where their inner life or fantasy is activated.
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Rubber Chickens, Wrecking, and Tent Posts
Yeah we’ve done microphones.
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Talk to me. It’s been hard.
What would it mean, Café Play wonders, if we could be more present– less tweets, phones off, open to chance strangers seated nearby, ears attuned to those around us, and to the creatures and objects outside of our usual frequencies?