Every rehearsal room is a reflection, a reflection of values: who is present and whose voice is heard. The construction of the rehearsal room is the delicate and often alchemic work of the director; walking into the room an ethos is immediately shared by the one who leads, and this is a powerful politic.
January in New York is Mardi Gras for contemporary performing arts. For three weeks we battle the viruses we caught over the holidays and face the harsh winter cold to take in as much performance as our wallets can handle.
Reclaiming Cultural Extractions: Safe Harbors Indigenous Collective’s Don't Feed the IndiansA Divine Comedy Pageant!By Adam R. Burnett
Over the past decade I’ve spent an increasing amount of time in New Mexico, particularly Albuquerque, where indigenous culture is woven intrinsically into the city which is within a two-hour drive, or less, to seventeen pueblos.
In July of 2011 I attended a production called HOME/SICK at the old Collapsable Hole in Williamsburg. It was sweltering hot, the humidity was unbearable, and in the hallucinogenic haze of heat, I was enraptured by the lucid storytelling and clean, but dangerous, theatricality of The Assembly. I was hooked and have continued to follow their work over the years.
Downtown theater has experienced a diaspora in the past decade, sending companies and venues further out in the boroughs, to neighborhoods that once would have never been considered as viable.
Within days of the On Your Marx Festival’s press release going public, the internet was abuzz and The Skirball Center’s twitter account had garnered multiple responses from individuals coloring the institution, housed at NYU, as a propagator of brainwashing communism into the student body. But this is 2018, and this is where we are, this is what happens. And on the 200th anniversary of Karl Marx birthday (on May 5th, actually) we might bemuse the thought, “What would Marx think about all this?”