Essentially I, a poststructuralist rhetoric nerd, thought, I’m trying to write a play about the failures of all those other “girls” stories to reflect the real “girls” I know, and that word is so fucking insufficient, but I don’t have another word for these women.
I was hired to perform as a sort of Vanna White car model at an auto show in New Hampshire. I had to memorize 2 pages of facts about a new model of Subaru, which I repeated over and over into a mic in an alluring manner while walking around gesturing at the car.
Two pieces that delve into ideas surrounding worship and identity: Angie Pittman’s “Came Up in a Lonely Castle” and Johnnie Cruise Mercer/TheREDProjectNYC’s “Process memoir 4: The word, the spirit, and Little Rock.”
This question of power comes up – who are we listening to the most? And who are we not listening to, or are somehow unable to listen to, or fall asleep while they’re talking?
Alex Borinsky & Chana Porter interview each other
With XIV, my favorite experimental constitutionalist bruthrr George Emilio Sanchez is crashing a brown, brooding and bold biography into the broader American histories of other fights for equal rights. XIV offers an incisive and often intimate look at the never ending challenge that is our country’s constant separations of equality in a show that continues this weekend and next at Dixon Place.
pathetic is writer/director Julia Jarcho’s riff on Racine’s Phedre, the neo-classical exploration of a woman’s lust, so of course it takes place in a high school.
The other morning, Lila woke up and her first question was “Mama, how do you start to write a musical?” which, I admit, made me feel proud.
Donovan builds a tranquil place effortlessly, and then creates darkness within the negative (theatrical) space around it, using it as atmospheric pressure to hold the memory in place.
Dan Safer is the devil you’ve been dying to dance with and Ae Andrea’s enviable lines and swag make them an optimal fiend friend for that card.
In summary: This should shouldn’t have been put up, here or anywhere
A composite of quite ordinary gestures that combine to make something novel, much in the way the entire play uses old poses in service of a show much more than an aesthetic or expressionistic dance.