The story of Greenpoints McCarren Park Pool has the makings of a great saga.
To decide what to produce, the stageFARMs artistic director Alex Kilgore draws on his hard-earned, hard-living experience as a former punk rocker in Houston, Texas in the 80s to help decide what to produce.
After watching Episode Four of Room for Cream, the red-hot lesbian soap opera currently running through June at La Mama, it was clear that the audience didnt want to leave.
This is all Mac Wellmans fault. He fully admits that all his favorite writers are fascists. So when talk was starting earlier this spring about the Bring a Weasel and a Pint of Your Own Blood Festival, he pulled out his copy of a little known book by Felipe Alfau titled Locos: A Comedy of Gesturesand I like to think literally threw it at playwrights Scott Adkins, Normandy Sherwood, and Richard Toth.
Collapsible Giraffe the CUNY Prelude festival PS 122...the East River Band Shell Throw in a few out of town performances and this is the path taken, in the last year or so, by the National Theatre of the United States of Americas show Chautauqua!
Its San Francisco in the 1970s. Fifteen-year-old Minnie has just started an affair with her mothers boyfriend. Shit.
Its a cruel moment when you realize youll never be a professional baseball player. Youll never play in the World Cup; never hear yourself discussed on SportsCenter.
Once a month, on a Monday night at Dixon Place, you will find twisted, adventurous, and multi-talented artists spinning their ideas into gold (most of time) in front of an equally ambitious, off-the-mark audience that has shown up to see what in the world will happen this time.
Mac Wellman drinks Amstel Light because, in his words, its the best light beer. Hes less choosy about the tequilaneatthat accompanies it, demanding only that its present. When we were compiling questions to ask Wellman about his new play opening at Dixon Place in October, there was a certain fear that he would answer none of them.
For one month, when Julia May Jonas was 17 years old, she was sent to a wayward girls institution. The way she tells it, she quickly realized that she was more sane than the others, but like any good teenager, she got swept up in the drama of the place.
One of the many wonderful things about Mac Wellman’s work is that there are no boundaries to where he takes us. Sure, we can be on earth sometimes, but he’d rather not stay anywhere too recognizable for very long, and he would much prefer to be in space or on a different planet (often one of his own creation). Who can blame him? Earth is pretty awful.
One of Normandy Raven Sherwood’s first plays was about a couple of coat-check girls at a fancy restaurant, and even though I can’t exactly remember what happened, it didn’t even matter because her sense of space and place and weird relationships were unique and odd and riveting.
If there was only one way of doing things, Liza would be writing the same homecoming-hostage play over and over (not a bad idea) instead of constantly building completely new worlds in her work, showing her unique sense of place and character and conflict, all with the patience of a thoracic surgeon and the humor of Carol Burnett.
I must confess that I find it rather difficult to define the word adaptation. It seems conceptually overwhelminglike technology or Africa.