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Eliza Bent

ELIZA BENT will perform in Half Straddle’s The Seagull (thinking of you) in January at the Coil Festival. Her play The Hotel Colors will happen in May at the Bushwick Starr.

In Conversation

Caridad Svich with Eliza Bent

In late 2002, I kept having conversations about words and music with fellow artists, mainly playwrights, and how we could create new kinds of lyric texts for the stage

FUTUREROCK: PASS KONTROL’S NEW HOPE CITY

Consider hits from The Strokes, only imagine them catchier, less faded and with vocals not nearly as strained or affected. Consider that the musicians also make art—like Lansing Dreiden, but without the shroud of mystery or lofty price tags.

In Conversation

The Art of Duel: NICK JONES with Eliza Bent

Nick Jones may best be known for Jollyship the Whiz-Bang, the quite successful puppet pirate musical. But the “puppet man” is serious about playwriting too. I sat down with the Park Slope resident for a late afternoon sandwich during rehearsals for The Coward which opens Nov. 22 at Lincoln Center’s LCT3.

In Dialogue

Ich Bin Ein Pumpkin Deity

Sibyl Kempson’s sparky presence on stage and page first caught my attention in 2009 with Crime or Emergency, in which Kempson inhabits a myriad of characters and sings some early Bruce Springsteen songs.

YOU GIVE ME FEVER The Audience and Wallace Shawn

There is a bit of cheeky self-awareness that permeates the theatrical event in The Fever. The monologue play, delivered by Wallace Shawn, asks how a sensitive person can comfortably cope in a world of economic inequity. If you’re not born in the third world, and if you’re not living in a war torn country, how can you sit by enjoying bon bons and chardonnay?

The Church of Young Jean Lee

Young Jean Lee didn’t always imagine herself a playwright. In fact, it was pretty far off her radar until five years ago when she had a bit of a quarter life crisis. Her therapist asked her what she would be if she could do anything in life.

A Ripe Time: Rachel Dickstein's Betrothed

Whatever you do, don’t call Rachel Dickstein’s work ‘physical theatre.’

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The Brooklyn Rail

NOV 2019

All Issues