Yaël Farber’s ‘Mies Julie’ at Classic Stage Company

Not that loyal Classic Stage Company attendees need convincing, but updates are one way of attracting an audience.  Through March 10,  CSC is running two new adaptations of August Strindberg classics.  One is Yaël Farber's  Mies Julie, a harrowing reinterpretation of the Swedish playwright's most famous work.  The darkness within nineteenth century Expressionism invite exploration, and Faber, along with director Shariffa Ali smash every crevice of the contemporary South African farmhouse kitchen where the fatal encounter between Julie (Elise Kibler) and John (James Udom) takes place. Like Strindberg's 1888 original, the 75-minute play focuses on the class war between the bored rich young

Anne Teresa De Keersmaeker / Rosas ‘Verklärte Nacht’ at Baryshnikov Arts Center

  About a year from now, Anne Teresa De Keersmaeker will reach a mainstream audience when she stages the dances for Ivo van Hove's Broadway production of West Side Story.  Both she and her company Rosas frequent BAM, various Lincoln Center festivals and Baryshnikov Arts Center, which over this long weekend presented the New York premiere of the Belgian modernist's stunning Verklärte Nacht in the Jerome Robbins Theater.  There's no irony intended here.  It's BAC's largest performing space and the two choreographers are generationally, aesthetically and fundamentally different from each other. Verklärte Nacht (Transfigured Night), originally choreographed in 1995 and reconstructed in 2014, is based

SKIN – A Broken Box Mime Theater performance at A.R.T/New York

  I did not know that I would love 90 minutes of traditional mime so much. But I did. Nine performers, in mime white make-up masks, performing a series of scenes and moments, managed to be both captivating and surprising, and I was amazed at how deeply I responded to this skilled and brilliantly executed performing art form. My vocabulary for mime is not very big. I immediately default to thinking about the man in the box, the rope puller, the mime mimic performing street theatre at a tourist intersection. SKIN takes that and tosses it out the moment the lights go

Colin Quinn Red State Blue State at Minetta Lane Theatre Unites a Nation Divided with Humor and Wisdom

Comedian Colin Quinn has been referred to as a “satirical sage from Brooklyn.” It’s an apt title for the performer who took the stage of the Minetta Lane Theatre to a packed house for his new solo show, Red State Blue State. With his scruffy facial hair -- not quite a beard but well past the hour of a 5 o’clock shadow, now with more salt than pepper -- the alumni of MTV, Comedy Central and SNL both looks and acts the part of a wise, witty and wistful observer reflecting on our drastically divided nation without malice, blame or

BroadwayCon Once Again Connects With The Fans

         I first covered BroadwayCon for The New York Theatre Guide in 2016 when it arrived at the Jacob Javits Center. As I continue to live the life of someone who won't say no to anything, I found myself at The New York Hilton in Manhattan this past weekend January 11th to 13th, covering BroadwayCon once again this time for StageBiz.com. BroadwayCon is a convention in the vain of ComicCon except, well, Broadway. From seminars to classes, to a kitsch mall, to thousands of cosplayers. I saw more Mary Poppinses than you could wink a nose at. BroadwayCon is a place

4:48 PSYCHOSIS Explores the Sounds of Despair, Rage and Hopelessness at Prototype Festival

Great art is meant to bring the viewer into another universe, perhaps allowing them to -- if only fleetingly -- experience previously unimagined scenarios, feelings and worldviews. It has the power and potency to connect us to the broader spectrum of emotions that make up the human condition. But what happens when this art is a semi-autobiographical piece of essentially heightened, poeticized and dramatized non-fiction that could be and has been regarded as “a 75-minute suicide note” (Michael Billington, The Guardian), such as 4:48 Psychosis -- the stark, often brutal, occasionally darkly comedic and deeply unsettling post-mortem work of English

Remote Theater Project debuts at LaMama with Amir Nizar Zuabi’s ‘Grey Rock’

The single set across LaMama's The Downstairs is the Wall.  Not a mock-up of the geographically impossible one threatened for the U.S./Mexico borders, but the equally controversial Israel−Gaza security barrier.  A lightning rod in U.S-Middle Eastern diplomacy, in Amir Nizar Zuabi's Grey Rock, it cannot block creativity or dignity. Zuabi, who also directed his play for the newly-formed Remote Theater, provides a blast-off point for The Occupation.  Part of the wall opens revealing Yusuf (Khalifa Natou), a retired TV repairman and former political prisoner, studying blueprints in his shed.  Without telling his daughter Lila (Fida Zaidan) or young friend Sheik (Motaz Malhis), Yusuf is

Mike Dillon, Gateway Comedy, And 17 Years Producing Comedy On Long Island

     For several years now I have had the occasion to write about Long Island Comedy. Many of the most preeminent comedians around have come out of Long Island, Eddie Murphy, Lenny Bruce, Kevin James, Satan, all the greats. In all seriousness anyone who knows comedy knows that the Long Island comedy scene caters to shows all over the country and essentially has made the world laugh since the inception of the understanding of what is funny in America. I'd be willing to bet that even during the American Revolution Long Island was making strides in comedy. Am I still allowed

Big Chuckles Productions and The Strange Foundation Bring The Pain with “Da High M.O.M Show”

                 I'm someone who no longer says "no" to anything. It's yes all the way. I've cultured myself to a grand scale by saying "yes" all the time. Because of this I get the opportunity to find myself in a slew of footings one might not usually find themselves in. This past Saturday evening was no exception. After I was bumped from a show at a local Comedy Club because of an excessive amount of comedians, I decided my time would be better served elsewhere. After some careful introspection I found myself heading

ZviDance at New York Live Arts

ZviDance, under the direction of founder/Artistic Director Zvi Gotheiner, appeared December 19-22, 2018 at New York Live Arts.  Their program included two provocative world premieres reflecting how effectively dance communicates the interior and exterior. The timing for presenting Bears Ears couldn't have been more ironic.  The 1.35-million-acre Utah national park - sacred land to several Native American peoples - is threatened by the Trump administration twofold.  As a slap to President Obama for officially declaring Bears Ears a national monument, the administration wants to reduce its size and drill it for oil.  Then there's the partial government shutdown commencing during ZviDance's run

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