My review of Hotel Savant's production of Artaud's The Cenci.
 photo by Dixie Sheridan
[F]or theatre history enthusiasts, Hotel Savant’s production represents a unique opportunity. It is unlikely that another rendition of Artaud’s play will pass our way any time soon. It is well-worth the $18 price of admission to witness a skilled and enthusiastic ensemble grappling with one of theatre’s most ambitious failures.
full review here.
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My review of Richard Foreman's Deep Trance Behavior in Potatoland.
For the first several minutes of the performance came the signature Foreman audience response: knowing smiles and uncomfortable giggles coupled with furrowed brows; few attendees at Foreman’s shows pretend to “understand” the work, with its densely layered philosophical references and its aversion to both narrative and character. Still, there is generally something fun about the experience. Tonight, though, the laughter died down fairly quickly, the furrowed brows accompanied more by shuffling feet than knowing smiles. Foreman was up to something different this time, and not everyone was sure they liked it. Full review here.
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my review of Wakka Wakka's Fabrik.
 photo credit: Nordland Visual Theatre
The spin on this iteration of the Holocaust tale, aside from its Norwegian setting, is the medium of the performance. Wakka Wakka’s inventive staging techniques, built around their Henson-ish puppets, supply a great deal of the charm of the production. The playfulness and virtuosity with which they explore the aesthetic and technical tools at their disposal make the story itself seem more unique than it otherwise might.
Full review here.
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My reviews of Tarrel Alvin McCraney's The Brothers Size at The Public Theater and Ahrens and Flaherty's The Glorious Ones at Lincoln Center.
[A]s much as you might turn your nose up at the bourgeois charms of these institutions, the fact that you subscribe to the podcast edition of This American Life and do your best to keep up with Democracy Now! indicates that you are in fact part of the target demographic of both LCT and the Public. Full review(s) here.
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My review of Karen Finley's Wake Up!.
Despite Finley’s image as a polarizing figure, a reputation born from her famous court battle with the NEA in the early nineties, there is very little polemicism on display in Wake Up! Instead, it is a show by and about someone who is trying to make sense of our baffling political and cultural present[,] an artist trying to work in a narrative form when the world she’s portraying seems to have lost its coherency. Full review here.
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My review of Maggie Smith's Good Heif, produced by New Georges and directed by Sarah Cameron Sunde.
Unfortunately, generally strong staging and admirable performances cannot save the text from its undercurrent of condescension and self-congratulation. full review here.
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My review(s) of Dan Hoyle's Tings Dey Happen and Danny Hoch's Till the Break of Dawn.
(There are a couple of ugly sentences, one of which is an outright editorial error, but my editor and I were both running on a tight deadline this time around.)
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my review(s) of Christopher Shinn's Dying City at Lincoln Center, and the "mini-festival" fuckplays downtown.
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