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.”
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?
Five Questions with Annika Vestel
I like to provoke an internal movement in the audience, something where their inner life or fantasy is activated.
Rubber Chickens, Wrecking, and Tent Posts
Yeah we’ve done microphones.
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?
The Reactions and Theatricals of Caitlin Saylor Stephens
Life is triggering. I am triggered constantly. You either choose to run away from that reality, be victimized by it, or lean into it by accepting the truth of your own experience.
Future Issues: RAGS PARKLAND SINGS THE SONGS OF THE FUTURE
There is pain, hurt, lovesickness for miles in every direction, emanating from this club across the country, world, and intergalactic beyond.
Five Questions with Cara Scarmack
Nowadays I’m less interested in causing maybe a huge stir or making something achingly beautiful on the whole. Now it’s more like: take a sizable hunk out of the corner somewhere and maddeningly chew.
How Smart is OKLAHOMA?
What makes this Oklahoma more than just smart is how it ruthlessly strips away the glaze of nostalgia that usually accompanies such restagings in order to uncover what seemingly must have always lurked there, submerged just below the musical’s glossy surface.
Confrontation & Complication: THE REVOLVING CYCLES TRULY AND STEADILY ROLL’D
Payne keeps his audience from jumping ahead to any particular conclusion by deploying a second (bigger, metatheatrical) frame around Karma’s story, one in which the house lights keep coming up and we are rendered, without a choice, visible – to the actors, to the audience, and (most disturbingly) to ourselves.
Delving Into the Devices (Performative and Literal) of Richard Saudek’s BEEP BOOP
Sad clowns, hobo clowns, birthday party clowns, crust-punk clowns, burning man hula hoopers dressed like clowns…juggalos! I don’t consider myself any of them.
Athletic Kinesthetic Action On Stage
Their movement allows them to take up all the space, filling the stage all the way to the frame.