IT'S ALWAYS RIGHT NOW, UNTIL IT'S LATER: This one-man show written and performed by Daniel Kitson at St. Ann's Warehouse in January 2012 was not as spellbinding and devastating (in the best way possible) as Kitson's The Interminable Suicide of Gregory Church at St. Ann's in 2011. And yet -- if you were there for it -- take a moment to remember with me, the way it ended: that triumphant detail about the crosswords.
We were skeptical about GATZ, before, during, and after. We thought the final third was superfluous. But we couldn't deny: the legroom was generous; the newly renovated bathrooms, ample. For the dinner break, we went to The Famous Cozy Soup 'n' Burger, with time left over to saunter around Washington Square Park. And after we'd seen a few more plays about town (which shall go unnamed), we realized just how good Gatz had been. But my favorite character was still the sound guy who sat on the far left of the stage and occasionally participated in the action.
Messieurs Michael Yates Crowley and Michael Rau put on a wonderful (and free) show this fall at IRT Theater: SONG OF A CONVALESCENT AYN RAND GIVING THANKS TO THE GODHEAD (IN THE LYDIAN MODE). At the start of the show, they pass out index cards and ask the audience to write one thing that causes pain; they later incorporate these into the performance. Some wiseguy submitted a card with the words "independent theater," which made the actor grimace as he read it aloud. This piece of independent theater was the opposite of painful.
Messieurs Michael Yates Crowley and Michael Rau put on a wonderful (and free) show this fall at IRT Theater: SONG OF A CONVALESCENT AYN RAND GIVING THANKS TO THE GODHEAD (IN THE LYDIAN MODE). At the start of the show, they pass out index cards and ask the audience to write one thing that causes pain; they later incorporate these into the performance. Some wiseguy submitted a card with the words "independent theater," which made the actor grimace as he read it aloud. This piece of independent theater was the opposite of painful.
...COMO EL MUSGUITO EN LA PIEDRA, AY SI, SI, SI...
In October we returned to BAM to see Tanztheater Wuppertal, Pina's troupe, perform Pina's final work. We sat in the third row -- we'd been so slow to buy our tickets that the cheap seats sold out. The dancer I loved best was the one they called "la pequeña." Ilya said, "You don't so much love her, as identify with her." Let me ask you a question: is there a difference?
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