Watching the three Players go through an elaborate and very tightly regulated game for citizenship to “The Promised Land,” the dot game would have been more than enough to create a natural tension between the players, with which to fuel their antagonism, and eventual alliances, secrets, and betrayals.
There’s a genial kind of, I don’t know, Brechtian disruption going on when you hurl that sound at people. They just lose their shit and do not know what to do with themselves. It is somehow a punk rock gesture.
“I’ll just put my bias on the table.” What is the impact of the work? “Let’s turn over the rock and see what’s under there.” Terry says.
Does the key to life come less from real knowledge and more from a sense of rhythm? Pattern recognition? A skewed version of the old saying, “If it looks like a life, and it walks like a life, then it must be a life?”
Can I get a witness!! Looking for e pluribus pluribus with George Emilio Sanchez’s “XIV” at Dixon Place
With XIV, my favorite experimental constitutionalist bruthrr George Emilio Sanchez is crashing a brown, brooding and bold biography into the broader American histories of other fights for equal rights. XIV offers an incisive and often intimate look at the never ending challenge that is our country’s constant separations of equality in a show that continues this weekend and next at Dixon Place.
pathetic is writer/director Julia Jarcho’s riff on Racine’s Phedre, the neo-classical exploration of a woman’s lust, so of course it takes place in a high school.
Donovan builds a tranquil place effortlessly, and then creates darkness within the negative (theatrical) space around it, using it as atmospheric pressure to hold the memory in place.
Dan Safer is the devil you’ve been dying to dance with and Ae Andrea’s enviable lines and swag make them an optimal fiend friend for that card.
Everybody Hates a Tourist: Romeo Castellucci Visited America, and Makes Clear He’s Picked Up Some of Our Worst Habits
In summary: This should shouldn’t have been put up, here or anywhere
A composite of quite ordinary gestures that combine to make something novel, much in the way the entire play uses old poses in service of a show much more than an aesthetic or expressionistic dance.
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.