There is pain, hurt, lovesickness for miles in every direction, emanating from this club across the country, world, and intergalactic beyond.
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.
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.
We share our sweat, our humidity, our heat. We weather it, as Kelly does inside the box.
“Feminist Perspectives on Building Intersectional Communities,” facilitated by Joy Messinger and guest speakers Hana Ii-Epstein, Jessie Fuentes, Kyra Jones, Lenox Magee, Denise Yvette Serna, and Guest Culturebot Writer Tanuja Jagernauth.” Photo Credit: Ishmael Muhammad. Written and directed by Kyoung H. Park, PILLOWTALK (which recently was
This testing, naming, retreating, reframing; lifting to the light the grays and yellows and beiges and browns of inner worlds – is often the dance of the play.
Hammel draws us in to her experience, while granting us a bit of separation from the material itself (which is unrelentingly bleak, flirting with misogyny, although its view of the male specimen isn’t without contempt either).
This is Peter Pan set in a dystopian futureland, the music acting as a remnant of a memory of a time when feeling was more possible, when childhood was more innocent; before we found ourselves up against a neon wall, staring out at the void, attempting to determine if we’ve (finally, like Peter did when he flew back one night only to find the window closed against him) reached a point of no return.
How do you deconstruct a deconstruction?
More Muscle! Liza Birkenmeier’s ‘the hollower’ (director Kristy Dodson) presented by New Light Theater Project
One woman’s refusal to participate in the social straightjackets necessitates another’s sacrifice; the hollower’s women are negatively bound to each other in a zero sum game.
Though their insular world went weird, and quickly, I was there, because they were there. Davis and Markey have the attunement to one another that only comes from a sustained exposure to the other’s way of standing, talking, moving, being-in-the-world.
The history in the text (of lobotomies, of white-male explorers, of colonization) becomes compressed: events, accidents, happenstance, and mistakes, become “like layers of snow into a glacier.”