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.
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