R&J

R&J by Nature Theater of Oklahoma. I thoroughly enjoyed this show. Really fun, great performers. Like their other shows, I didn't totally need or buy into the self-referential bits, but who cares. That guy Robert is awesome.

The show reminded me of this video.

Star Wars: Retold (by someone who hasn't seen it) from Joe Nicolosi on Vimeo.

leary

Left baby at home and went to Soho Rep to see YJL's Lear.
Great cast, amazing design (!!), amusing bits of dialogue in some scenes, touching monologue near end. A ridiculously heightened doublet & hose (& ruff) Shakespeare universe disintegrates over the course of the meandering play until artifice is left crumpled on the ground. But not sold on the Lear (Shakespeare's) aspect of it. Felt a bit talked down to. The familial themes were not a sensational or controversial as those in her other plays which meant it had to have more substance or structure to support it.

there is no end

Last year (2009) I got married and had a baby. So I didn't much get to the theater. I just stopped wanting to be in the theater. In fact i stopped wanting to do anything that had to do with culture or literature. I could barely read a book. I read one book in 2009 and it was Then We Came to the End by Joshua Ferris which was pretty darned entertaining. It got a bit mushy towards the end for my taste, but I guess the world needs things to tie themselves up into a nice package. Dan R gave me the book for Christmas 2008. Although I guess he doesn't celebrate Christmas (Jew) so it was really just a friendly holiday gift. Such a sweet guy.


Anyway I did see another show after the baby popped out. It has been hard to find a way to get out of the house by myself to go to the theater -- it seems like such a luxury now. It forces me to find value even in the lousiest shows. Jeremy Wade's there is no end to more, however, was not at all a lousy show. I think I appreciated it more, now that a month has gone by since I saw it. Starring Jared Gradinger, who I saw in Constanza Macras' piece(s), this children's TV show on acid x poop + manga had some really amazing chunks of text in it -- scatological in tone which I love. The movement was nuanced and precisely executed, but I didn't really "get" into it. It was a really well made show -- like the show that the Big Arts Gourp wanted to be but couldn't.

Sensory Overload

It's been a bleak few months for me -- primarily because I continue to feel burnt out about and by theater performances, and this apathy is reinforced by terrible performances I've seen. I'm at a point where I am almost trying to avoid shows entirely. Sad.

At The Kitchen I saw a Big Art Group show for the first time and found it kind of appalling. Lots of camera/video work in bright crazy costumes and digitally manipulated backgrounds, and culminating in a crazy extravaganza of people wrapped in a million 260 balloons (used for making balloon animals) and attacking each other.... or something. I gather it was a reflection of the self-destructive non-stop mega-consumerism in our American lives on every level, with everything being indistinguishable from the zippy colorful commercial breaks, and there was some kind of allegory with people dressed up in animal costumes trying to find their way through the forest. All of this mattered little to me, though, because their in-your-face litany of screaming indecipherable language and hallucinogenic imagery never changed in dynamics from the beginning to the end of the 90 minute show. It was kind of a form of torture.

I did manage to catch Ibsen's Dollhouse by Mabou Mines at St. Ann's before the show closed forever. Though I found some parts a bit draggy, there were remarkable elements -- the womb-like red velvet-walled house/set; over-sized piano; miniaturized furniture pieces (not to mention the obvious size differences between the actresses and the actors. but most amazing was Maude Mitchell's mind-blowingly phenomenal performance as Nora. The end of the play, including Nora's stripping down to the scalp sent shivers up my spine.

Both shows were very high-concept and chockful of surprises and nuggets of invention. Without dynamics, though, it can all disappear into a wash of tedium.

the importance of keeping your mouth shut

I insist I am not biased, just because I worked on the translation.
Dan Safer is one of those people I'm really glad I met. Despite his rockstar persona, over a tall cup of tea I learned he was extremely thoughtful, generous and perceptive.
To tell the truth I wasn't sure I fully embraced his production of Mikuni Yanaihara's The Blue Bird, because it seemed like the non-stop ADD break-neck game-show-like antics of catchy dances, song/screaming and theatrical nonsequitors were more gimmick than could be held together by the structure and actual meat of the play. And I'm not sure if I was convinced otherwise -- however in the last 15 minutes of the play, with a surprisingly simple but beautiful transformation of the space with the music and the video and the images, and the sequence that followed, he caught that bird and made it fully, unapologetically, poignantly his own. Not sure how Yanaihara felt since she went to see it 2 weeks ago, but I felt fully tricked and not half-way indignant about it.

Nothing New

Went to see Jan Fabre's Orgy of Tolerance.
Imagine an evening of competitive masturbation, cock-sucking, furniture-fucking, rifle-barrel-butt-fucking, a room full of guys getting hand jobs while discussing their collection of ethnic humans, torturing people for the sake of consumerism, and a litany of 'fuck you's aimed at every single conceivably religious/ethnic/gender/sexual orientation group you can think of.
Shocking?
On the contrary. It was sophomoric, predictable, shallow and also felt terribly outdated, by like 30 years. I couldn't believe that this was the new work by the leader of the Flemish Wave -- it felt more like some college student's first self-made dance-theater piece (in fact it did remind me of the works of a few college acquaintances), except with an enormous budget.
The performers were all very talented and could obviously move, but their energies were embarrassingly wasted on a fetid work.

The jokes on you, cracker mothafucka, and look who's laughing.

Saw YJL's The Shipment.
I say without reservation that Young Jean has a remarkable capacity for and agility with words, and a unique brand of wicked American humor that is based on irony/sarcasm. She also always goes after a disarming rhythm in her plays, one that teases, caresses, then pulls the rug from out under the audience. Watching her shows is like being tickled and being force-fed sliders while also being bashed in the head at the same time.
Though performed by an astoundingly beautiful and talented cast, I don't know if this was her most successful piece. Despite the NYT, I would say that the second half of the piece (which felt me like the play she really wanted to write) didn't earn its pay-off -- it's an extended cocktail party drama in which the host pretends to poison all his inane guests. The joke is supposed to be on the audience at the end when you find out that the black actors were playing white (read: racist) characters the whole time -- but this conceit was pretty apparent from the get-go.
I always wonder why her plays are so in-your-face, like to the point of being abusive to the audience, especially white ones. It's like she's tapped deeply into the fact that white people love to have their white guilt pumped up and paraded around and shat on publicly, particularly if in the hands of a such a witty wordsmith, because then they can feel absolved yet claim to have acknowledged their deep-seeded inherent racism and elitism and be able to laugh it all off in a neat package. There's a lot of racial shock-value to be mined and she's got a mainline to it, for sure.
My favorite part of the play was a song at the center of the play that was sung incredibly beautifully by three actors. That felt like the (literal) heart of the play to me.

Kicking off 2009

Let it be a year of succinct blog posts.

I was deeply disappointed with The Seagull on Broadway, particularly the performances by MacKenzie Crooke who seemed to shout all his lines at the same pitch, and Peter Saarsgaard, who seemed just totally bored out of his mind -- and not appealing at all.

I survived Yoshiko Chuma & Shirotama Hitsujiya's X2. I continue to be astounded by their (collective) audacity.

I have now made three failed attempts to see Witness Relocation's The Blue Bird. My only remaining chance this Friday.

I saw only one show at Under the Radar this year, and that was the bizarre show by the Netherlands' Kassys called LIGA 50% Reward 50% Punishment. The opening film is delightful, tracking a backstage view as one by one, the performers of a show make their exit and greet their director to celebrate how well the show had gone. The reactions vary subtly, but the general feeling is that of relief and elation. Then the performers' parents come out of the green room and begin to slowly zup up their children in their coats and escort them home. Somwhere, we've made a transition in perception. What we at first thought were 'normal' adults have turend out to be somehow mentally/psychologically impaired (autistic?) people. Then the play begins in earnest, rewinding back to the beginning of the show. Each actor makes his/her entrance and interacts with the stage props, audience and each other. We seem to be watching at once some kind of socialization experiment, a performance made of trying to teach 'normal' 'acceptable' behavior, and a reality tv show. At the height of the chaos, one girl begins to disrobe and flaunt herself and others flail about with large cushions, vying for the audiences' attention, until the director finally intervenes and demands that the group create a cohesive event together: a BBQ party.

Though rhythmically the show falters in the middle, and I started to feel like I had been a kindergarten class for about 3 hours (exhausting!) the show was a pretty committed (if shallow) commentary on social/societal acceptance and interaction.

Contrition 2008

How much do I suck for being the lamest blogger of 2008? A lot.
The fact is, I've felt no desire to see theater, especially after the ordeal of getting oph3lia on its feet. I have, however, found myself in the theaters (and, as it happens, pretty commercial theaters for some reason) a handful of times this autumn, and before the year ends I wanted to (b)log them briefly here.


I'd never seen a production by Robert LePage so I felt almost obligated to go see his The Damnation of Faust at the Metropolitan Opera. The set consisted of 5 or so levels of scaffolding, on which both upstage and downstage there were opaque and translucent projection surfaces that sometimes were retractable. There were some acrobatic flying, big epic images (people falling into water, full stage sunset), and repetition of stage pictures (the scaffolding and partitions created a dense grid of cubicles in which the a "man at a table" could be repeated 20, 30 times. all in all, though, I was not moved or impressed.


I went to see the Builder's Association at BAM, also because I'd never seen their work before, and, from what I heard, the narrative and themes in their latest work Continuous City. Really cool technology (hydraulic? screens that pop open and closed with projections or LED or something) kind of hackneyed concept (social networking -- i.e. mediated communication -- cannot be a substitute for real interaction... or can it?), and pretty loose story that kind of didn't have a drive. Actually I might argue that the reason why it felt so flat was that so much of the acting was pre-recorded, and so the live actors, when having to interact with recorded media, were forced to flatten themselves out. But I did find the lead actor incredibly handsome. Is that a really sexist thing to say? Oh well.

Last night I went to see Billy Elliot on Broadway. Not my choice. My friend had an extra ticket. Cute story. I imagine the movie was better able to communicate the context of the story (coal-miners in England on strike in the 1980s). The young actor playing Billy that night was a technically skilled dancer... but... and I know that this is harsh or whatever and that you're not really allowed to have criticisms about someone who is still "a kid" or whatever but, I just felt that there were limitations to his emotional range, and that his dancing, although executed with finesse, rang empty.

So, what I'm really excited about is that tomorrow, I am going to see The Seagull on Broadway, starring MACKENZIE CROOK (Gareth from the BBC The Office) who I am totally in love with. I happen to love that play too, my favorite of all the Chekhovs. Hopefully I won't be (too) disappointed...

2008 was a hell of a year. I hope 2009 is a bit calmer and happier.