Ni’Ja Whitson queers divine kingdoms with cosmological meetings amidst a swirl of lineage, legacies and streaming star scapes. Salve.
If life is a race, all the characters here are lagging behind the leader, just hoping to keep up and find space to breath amidst the density of inevitable heartbreak that comes along with living.
I will not say “I’ve grown up” since then, because truly I see this acceptance of paid monotony as a bit of my idealism seeping out. A necessary bloodletting, at long last, giving up my mulishness in favor of a little ability to tame the storm that was my inner mind each day and each night.
After over a decade hiatus in making work, with “now my hand is ready for my heart” downtown icon, Nicky Paraiso gushes forth while looking back on several lived lives in Nickyworld.
I’m not sure I would call Mrs. Murray’s Menagerie a play, as such, if only because a play suggests an exterior blueprint which is then built or enacted by a group of performers and designers. The Mad Ones appear to build out – they start with what is generally interior, a collection of tiny behavioral tells that shape human intention, and construct around it.
Yilong Liu is a Chinese-born playwright who writes plays in English. Michael Leibenluft is an Obie-winning, American-born director who directs in Chinese. Together, they’ve been working on the New York premiere of Liu’s play, June is the First Fall in a production by Yangtze Repertory
through sharing, repeating, layering, and rephrasing, the company finds a way to both underline and subvert the brutality without explicitly pointing at it.