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Philippa Kaye

In The Cold Light Of Day

As I wait in the queue to get into the theater for Sarah Michelson’s much-publicized Daylight, I am happily surprised to see that PS 122 is finally getting a paint job. A flat primer white replaces the grime that usually inhabits the narrow hallway. My companion is a Californian who has never been to PS 122, so acting the host New Yorker, I tell her proudly that we are about to enter a hallowed performance space, but apologize that it is one less than aesthetically ideal.

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The Brooklyn Rail

NOV 2019

All Issues