When the Gilets Jaunes (“Yellow Vest”) protests broke out just a little over a year ago, the leaderless, populist movement was somewhat baffling – as with so much of French social life – for Americans. Beginning as a protest against a fuel tax combating global
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.
When one goes to the beach, does one lie on the sand and watch the water? Or does one wade in until they can barely reach the bottom?
They fucked us good.
Nice Fish, by Mark Rylance and Louis Jenkins, currently playing at St. Ann’s Warehouse through March 27th, takes this activity that most of us have never engaged in and makes it – at least for me – totally, nostalgically, tragically familiar.
A Response to Donmar’s HENRY IV at St. Anne’s Warehouse
A response National Theatre of Scotland’s visually stunning production of Let the Right One In at St. Ann’s Warehouse.
A fierce South African reconception of Strindberg’s play falters under the weight of the racial, economic, and social issues
Director Grzegorz Jarzyna delivers an emotionally shaking experience in his adaptation of the Dogme 95 film
Andy looks back on his week that was from The Elephant Room to The Opera to David Foster Wallace and a “happening” in Greenpoint.
The trio of magicians who perform “Elephant Room” on working in community theater, performing in broken Japanese, and their upcoming appearance at Satan’s Warehouse in Brooklyn
Richard Maxwell’s style well-suits O’Neill’s text in this collaboration with the Wooster Group.