A small boat sails the stage while a trap door serves as the river depths for one of the characters to sink beneath the waves. And as the story reaches its inevitable conclusion, a snowstorm complete with snow drifts – an element taken directly from the origin story of Arden.
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It has been so challenging to write these reviews of three recent works presented as part of the...
Read MoreOn a cold November, New York Friday night, when temperatures approached freezing, the shivering audience waiting to experience Albert Camus’ The Fall at the Soho Playhouse checked in at the box office on the upper floor, then...
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The show Lazarus 1972-2022 is difficult to pin down. How can what a thought looks like be...
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The simplicity of the set was enriched with exquisite lighting design, by Oliver Wason, depicting the starry heavens above, exploding bombs, flocks of butterflies, even projections of characters.
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In August 2020, Battery Dance shifted its annual Battery Dance Festival to a virtual format. The...
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In five years, in ten years, in twenty, we will remember what it felt like to live through the...
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Earlier this month, the NY Times published an article entitled “What is a Ballet Body?” that...
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The thing about UnRavelled is that it’s one of those plays that even a week after seeing it random...
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Midway through the first episode of Isolation to Creation, a docuseries produced as part of this...
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To the right of the piano, hung on the far wall of the space, was the ravishing 103 x 172.5 inch acrylic on canvas. The Frankenthaler abstract painting dominated the space with a wash of undulating colors and shapes. Rothenberg opened with commentary about the connections between these two works of art explaining that while it’s challenging to talk about abstract works, as Baudelaire wrote, sometimes the combination of two difficult pieces can clarify and reveal the heart of the works.
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For theater, I like to give myself constraints. So for this, the constraint was that I wanted to write this for two people, partially because I love 2-person plays. There aren’t enough of them, and also, they’re so much more producible, and it’s amazing to watch two people pull something off, so I gave myself that challenge. It sort of opened up the door for me in terms of what the piece was going to be like stylistically – I wanted it to be a bunch of different genres and I wanted it to be ironic and funny and also heartfelt at the same time. That was all sort of outside-in thinking about this piece which isn’t always how it is, but helped me get into it. The more I worked on it, the more I have fallen in love with the characters and their story, but it frankly came about by thinking about the structure itself, and what I wanted to play to feel like and how I wanted it to be formed versus what it was actually going to be – form then content rather than the other way around.
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The Boston Experimental Theatre (BET) has created a production that manages to reflect our odd,...
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