The Last of The Mohican Bohemians (or What Drove Stephen Bottoms to Chronicle the Off-Off Broadway Movement) An article in performanceby Michelle Memran
If there is any action, it takes place primarily in the West Village, mostly around Bleeker and Christopher Streets. The action, if there is any, is centered around the publication of Playing Underground: A Critical History of the 1960s Off-Off Broadway Movement by Stephen J.
When Sarah Ruhl speaks, the lyric nature of her words is punctuated by the frankness of her energy. Similarly in her plays, Sarah anchors her love of language with a palpable muscularity.
Since September 11th, a cultural shift has occured in which the theatre has become – more than usual – the staging ground for angst about our country’s political situation.
Opening their tenure as Brooklyns sole rep company, Brave New World Repertory Theatre played a savvy production of The Importance of Being Earnest at the South Slopes MadArts Studios in September.
In the early sixties a handful of downtown coffee houses and churches started offering makeshift stages and receptive audiences to new plays, provoking a flood of unsuspected talent and creative energy.
Dont you think that there is an Antigone spirit in the air? As a new New Yorker with Greek roots and Balkan branches, I feel it.
- The Last of The Mohican Bohemians (or What Drove Stephen Bottoms to Chronicle the Off-Off Broadway Movement) An article in performance by Michelle Memran
- In dialogue: Inhabiting The Clean House with Sarah Ruhl by Lila Rose Kaplan
- review: Reality Theater: Guantanamo by Pamela Newton
- review: An Earnest Start: Brooklyn's Brave New World by Alan Lockwood
- review: Playing Underground by Michael Smith
- Antigones in New York by Saviana Stanescu