Architecting at PS 122
http://www.ps122.org/performances/architecting.html
http://www.nytimes.com/2009/01/11/theater/11orel.html?=1&scp=1&sq=Architecting&st=cse
from the New Yorker Feb. 9, 2009 - says it all:
ARCHITECTING
The experimental theatre group the TEAM, in this nearly three-hour-long, overstuffed, and self-indulgent mashup of “Gone with the Wind” and post-Katrina New Orleans, mistakes naïveté for sincerity. In their hands, contemporary American experience consists solely of clichéd provincialism, bad Southern accents, twee musical breaks, and pretentious monologues about “force” and “history” that read like a college term paper. A subplot concerning a remake of “Gone with the Wind” helmed by a black director (played here by a white actor, who plays every black character in the piece, including Mammy) seems like a last-ditch attempt to preëmpt criticism of an all-white company’s tackling some very racially charged material, seemingly to no particular end. (P.S. 122, First Ave. at 9th St. 212-352-3101. Through Feb. 15.)
http://www.ps122.org/performances/architecting.html
http://www.nytimes.com/2009/01/11/theater/11orel.html?=1&scp=1&sq=Architecting&st=cse
from the New Yorker Feb. 9, 2009 - says it all:
ARCHITECTING
The experimental theatre group the TEAM, in this nearly three-hour-long, overstuffed, and self-indulgent mashup of “Gone with the Wind” and post-Katrina New Orleans, mistakes naïveté for sincerity. In their hands, contemporary American experience consists solely of clichéd provincialism, bad Southern accents, twee musical breaks, and pretentious monologues about “force” and “history” that read like a college term paper. A subplot concerning a remake of “Gone with the Wind” helmed by a black director (played here by a white actor, who plays every black character in the piece, including Mammy) seems like a last-ditch attempt to preëmpt criticism of an all-white company’s tackling some very racially charged material, seemingly to no particular end. (P.S. 122, First Ave. at 9th St. 212-352-3101. Through Feb. 15.)
. . . . interesting use of the divisable steel-framed set, the use of the roof, and the tarpaulin canopy pulled over and above the stage for the final scenes. good theatrical invention. again, too much skin for this viewer (particularly when it wasn't used to great effect)
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The Winter's Tale at BAM Harvey Theatre, part of the Bridge Project
noteable for the simplicity of the design and the bravado of some of the acting - Hawke was a great surprise though I thought I was seeing a ghost of the Johnny Depp pirate at times . . great to see the theatre in all of its plaster-cracking glory . . a very well-lit show
http://www.bam.org/view.aspx?pid=809
http://theater2.nytimes.com/2009/02/23/theater/reviews/23winter.html
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Julliard students perform Figaro
February 18, 2009: http://events.juilliard.edu:8080/cal/event/showEventMore.rdo
and an article from 2004:http://www.juilliard.edu/update/journal/j_articles303.html
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The Doll House by Mabou Mines in the St Anns Warehouse
another extra-ordinarily self-indulgent mash-up, noticeable for remarkable moments of play and grotesque invention . . but why the save on the chinese racial slur, and the conservatism of the male nudity versus the full-out nakedness of the female lead? . . . a very hot and uncomfortable sitting experience for the audience . . on the up-side I am encouraged to return to read the original play.
http://www.maboumines.org/pubPages/templP.php?Title=2003+Mabou+Mines+Dol
http://stannswarehouse.org/current_season.php?show_id=32
http://theater2.nytimes.com/mem/theater/treview.html?_r=1&html_title=&tols_title=MABOU%20MINES%20DOLLHOUSE%20(PLAY)&pdate=20031124&byline=By%20MARGO%20JEFFERSON&id=1077011430666&scp=1&sq=doll%20house%20mabou&st=cse
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