If life is a race, all the characters here are lagging behind the leader, just hoping to keep up and find space to breath amidst the density of inevitable heartbreak that comes along with living.
After over a decade hiatus in making work, with “now my hand is ready for my heart” downtown icon, Nicky Paraiso gushes forth while looking back on several lived lives in Nickyworld.
I’m not sure I would call Mrs. Murray’s Menagerie a play, as such, if only because a play suggests an exterior blueprint which is then built or enacted by a group of performers and designers. The Mad Ones appear to build out – they start with what is generally interior, a collection of tiny behavioral tells that shape human intention, and construct around it.
through sharing, repeating, layering, and rephrasing, the company finds a way to both underline and subvert the brutality without explicitly pointing at it.
Since it’s often hard to explain a good piece of theater – as Milo Rau’s Five Easy Pieces, which had its all-too-brief North American premier two weeks ago at the Skirball Center, certainly was – we might as well start with everything this show is
It’s not so much a communing with the dead as an un-containing of the self, casting meaning into the void, hoping perhaps to receive some echo of that meaning back, in the shape of a hug, or song, or strip of tin foil torn from the wall.
A very telling moment occurs right at the top of American Juggalo, a new play produced by collective Unattended Baggage, at HERE Arts Center that closed March 3. After a projected slideshow introduces us in the briefest possible way to the Insane Clown Posse, Juggalos,
John Gutierrez writes from inside “This Bridge Called My Ass” from Miguel Gutierrez
Wearing the mask in no way erases the company’s differences, but rather unites them as they all create together on a level playing field.
Michael + Patrick seem to be rebelling against the theater’s ruling class: kitchen sink dramas, heady idea plays, and — worst of all — amusement park attractions masquerading as Broadway musicals. And so Michael + Patrick have created something else, something other.
Tina Satter’s direction and Half Straddle’s pitch-perfect company establish and then maintain an unblinking focus that cuts through the dissipating fog and rewards the audience’s taut attention.
If fantasy has the power to instantiate, and maintain such debilitating power structures, could it also be the very force required to undo them?