It shook me, as the kids say. And I see a lot. And experience a lot. And I felt shook.
So you’re a dramaturg. What inspired you to pursue dramaturgy? I discovered it while I was in undergrad as a devised theatre major. At that point, I was a bit of a generalist, as we were encouraged to be—I’d done some acting, directing, writing, stage
Being on a plane you’re just constantly being confronted with your own mortality. Or at least I am.
And, yet, we are here, re-fashioning community and remaining soft in a building of stone. The monuments are crumbling. We can take an ax to their base or let them dissolve to the dust of their origin story.
Wearing the mask in no way erases the company’s differences, but rather unites them as they all create together on a level playing field.
There is an open mic and a fantasy slow dance to memories yet to occur, and a dance party that is pretty cute. I fall in love for exactly 15 minutes and it’s the best.
Michael + Patrick seem to be rebelling against the theater’s ruling class: kitchen sink dramas, heady idea plays, and — worst of all — amusement park attractions masquerading as Broadway musicals. And so Michael + Patrick have created something else, something other.
Tina Satter’s direction and Half Straddle’s pitch-perfect company establish and then maintain an unblinking focus that cuts through the dissipating fog and rewards the audience’s taut attention.
Considerations of how to communicate certain ideas, evoke abstract affects, and share stories explicitly offer possibilities for shared dialogue.