A response to “Farmhouse/Whorehouse: An Artist Lecture by Suzanne Bocanegra starring Lili Taylor” at the 2017 BAM Next Wave Festival
Sobelle’s work relies heavily on what one might describe as “sleight-of-staging,” which I’ll posit here is a cross between what a magician does with objects (cards and the like) and what a director does with design and blocking.
Tone-deaf and half-baked, Ivo van Hove’s adaptation of “The Fountainhead” flounders onstage
Christmas in Nickyland and Reggie Wilson/Fist & Heel prove dancing and singing are practices of resilence and resistance.
Honji Wang and Sébastien Ramirez, of Wang Ramirez, are often presented as cross-cultural navigators, both in their performance styles and in their personal lives. Wang is a Korean-German dancer with training in martial arts, ballet, and hip-hop, while Ramirez is a French-Spanish B-boy. From the
Deathlandia: THE UNDERTAKING, Steven Cosson, The Civilians in collaboration with Jessica Mitrani, BAM Next Wave
I wake up sometimes in the middle of the night and check if my partner is still breathing.
Which bodies rocked other bodies? Was the whole work rockin’ enough, man?
The Civilians’ Rimbaud in New York @ BAM
Nothing is sacred…Not even nostalgia.
Breathe. Breathe. And try to hold the space.
What I remember about Everyman, the 15th (I think?) century morality play taught in many theater history surveys: next to nothing. It’s allegorical, performers act in the role of virtues, there’s a journey, maybe a choice? God weighs in? So, what does that have to
Reflections on Paterson Joseph’s Sancho: An Act of Remembrance.