La MaMa’s “Trojan Women”
We watched astonished as the Greeks burst in, pikes leveled, horns blaring, a song of victory on their lips. We said nothing as they mocked… Read More »La MaMa’s “Trojan Women”
Experimental
Appetite for Deconstruction or A Culinary Guide to ‘Pataphysics: Max and Kirill Review “Now Serving” and “The Infinite Wrench”
Two plays with culinary themes and a pataphysical bent. Two reviewers with appetites for deconstruction and a taste for Alfred Jarry’s science of imaginary solutions.… Read More »Appetite for Deconstruction or A Culinary Guide to ‘Pataphysics: Max and Kirill Review “Now Serving” and “The Infinite Wrench”
Why?
The product of over six decades of fruitful collaboration, Why? by legendary English director Peter Brook and French playwright Marie-Hélène Estienne is many things: a… Read More »Why?
Looking Through a Glass Onion: A Review of “This Is Why We Live”
A Nobel laureate, a cellist, two actors, three languages—it sounds like a list from one of Polish poet Wisława Szymborska’s lyrical flights of irony. On… Read More »Looking Through a Glass Onion: A Review of “This Is Why We Live”
Two Critics, Three Opinions: A Review of “The Talmud”
A genre-bending show combining Kung Fu and the Talmud by a company called Meta-Phys Ed? Max and Kirill wanted in, even if it meant schlepping… Read More »Two Critics, Three Opinions: A Review of “The Talmud”
“At Black Lake” Speaks, But What Is It Saying?
Metal foil lines a bare stage, a black mirror warping the bodies of two barefoot couples in mourning. Two chairs, two milk crates rearrange themselves… Read More »“At Black Lake” Speaks, But What Is It Saying?