Wilson says to the container, “Well fuck you,” then to us, “Get ready to run if this explodes, I guess.”
The skilled player navigates the constraints of the game with the cards they are dealt—in the same way that we all navigate our privileges and oppression in daily life.
I am seeing the iPhone ghost faded into Mark’s jean pocket. We see each other.
He is seeing each one of us.
When I had my wisdom teeth extracted this past summer, all anyone wanted to tell me about was the rash of fatal opioid overdoses sweeping the nation, offering cautionary tales about the painkillers I would be prescribed. We’ve come a long way as a society
“And we begin, and we move, and we end.” Georgina Escobar responds to QUIET, COMFORT at JACK.
Call me a sap, but the idea that theatre can be a vehicle for magic enchants me whenever I’m watching a good play. That is, until the fight scene happens… Where is that slap sound coming from? Was that supposed to be a head-butt? What’s
Katie Dean on Stacy Grossfield’s “Hot Dark Matter” @ JACK.
Amelia Parenteau responds to SPAM at JACK
At the start of playwright/director William Burke’s PIONEERS!#goforth at JACK, we are seated. We are in little chairs. We see a huge net, hanging above us, watching us. JACK’s perimeter begins to rumble with the war chants of a fearless ensemble. Then there is that
The annual dare: Mac Wellman challenges three of his Brooklyn College playwrights to write short pieces based on the same source material, this year Maxim Gorky’s remembrances of Tolstoy, Chekhov, and Andreev. The set, a palimpsest of JACK’s signature tinfoil, typed pages and reverent portraits
The Radical Pleasure of Convening: Jaamil Olawale Kosoko & anonymous bodies’ “Imaging Justice for the Dark Divine” and beyond
“…the erotic is not a question only of what we do; it is a question of how acutely and fully we can feel in the doing.”
CHICKEN TENDERS: Peter Whitehead, poultry, and the art of collapse in Sister Sylvester’s They Are Gone But Here Must I Remain
Sister Sylvester’s new piece, They Are Gone But Here Must I Remain, opens with the company’s founder and director, Kathryn Hamilton, cheerfully and pragmatically laying out a few basic facts concerning her subject of interest: a documentary film called The Fall shot in 1968 by