Rail theater editor Emily DeVoti conceived the IN DIALOGUE feature of the Rail Theater pages as a forum for playwrights to engage with other playwrights. I have been a devoted reader (and sometime participant) in these dialogues, which frequently illuminate the quirky and dark inspirations and methodologies of the theaters most isolating process: solo script writing. But how does the writing happen when no one on the team identifies as playwright in the creation of a work of theater?
A dark blue cape trails a figure triple-somersaulting through the air. Matching boots that have seen many, many fights stick a perfect landing in soft carpet. A streak of yellow, another somersault, Batman and Robin have saved the day again. Thus began the career of David Anzueloviolence choreographer and founder of Unkle Daves Fight-House, as well as accomplished performer and playwright.
Belgian theater director Ivo Van Hove has been a prominent name in international theater for over three decades. He leads the Toneelgroep Amsterdam company and has built an ongoing residency of sorts at the New York Theatre Workshop. Critically praised for getting to the emotional core of masterworks, he has equally been dubbed a bad-boy provocateur. As the New York critics make their best of end-of-year lists, the fall of 2014 undoubtedly goes down as the fall of Ivo Van Hove.
A BEAUTIFUL DAY IN NOVEMBER ON THE BANKS OF THE GREATEST OF THE GREAT LAKES
by Sam Pinkleton
Lee Sunday Evans with Sam Pinkleton>
Last summer, after a very long day, I saw Kate Bensons A Beautiful Day in November on the Banks of the Greatest of the Great Lakes, directed by my pal Lee Sunday Evans at the New Georges Jam on Toast Festival. I was knocked down. I was lucky enough to sit down with her in December and try to dig into the alchemy of the Benson/Evans collaboration, shout about my excitement for the return of Great Lakes (produced by New Georges at the Women's Project) this January, and figure out how she manages to keep everyone awake.