10 out of 12, Anne Washburn’s new play at SoHo Rep in New York, puts a new comic twist on the genre of backstage drama by focusing on one of theater’s most boring tasks: the tech rehearsal.
Sybil Kempson’s Let Us Now Praise Susan Sontag, in a world premiere run at the Abrons Arts Center through May 17, is the first production by her new theater company.
The signature style of Richard Maxwell — a playwright and director who has received awards and fellowships from practically every major theater foundation, and whose rehearsals were presented as a work of art in the 2012 Whitney Biennial — works well in his latest piece, The Evening.
The roster of simultaneous festivals that regularly occur in January in New York can be overwhelming.
MIAMI BEACH — “There’s a lot of product going on here,” I heard a woman say into her cell phone at the mega-art fair Art Basel Miami Beach 2014. Indeed, $3 billion worth of art is being offered for sale this year, according to the event’s organizers.
Perhaps there are a few whose steely hearts do not melt at the sight of a child in a tutu performing her first solo or, as the curtain rises, a lone grade-schooler pretending to be a tree. But 600 Highwaymen (writer/directors Abigail Browde and Michael Silverstone) figures no one can resist five prepubescent thespians, and they’re probably right.
The Abrons Arts Center hosted the Forest Fringe Microfestival over the weekend of October 3. Forest Fringe originated at the Edinburgh Festival, a fringe within the Edinburgh Fringe, and has become internationally mobile as an independent entity.
Director/writer Richard Maxwell was included in the 2012 Whitney Biennial, an unusual, though not undeserved, honor for a theater director. His Isolde, now running at the Abrons Arts Center, is a departure from his recent work, a surprisingly conventional play, which he presents in his customary flat, affectless fashion.
The script for “Bystander,” Liz Magic Laser’s performance at The Kitchen, consists principally of two types of statements about current events — the personal and the reportorial.
Adam Weinberg, the director of the Whitney Museum of American Art, was candid in his opening day remarks when he commented that the Biennial had in the past been thought of — or was criticized for not being — a representative snapshot of American art.
Mallory Cattlet’s This Was the End at The Chocolate Factory in Long Island City occupies a point along the continuum between theater and visual art. The emphasis is on the visual perception of the stage set and the video projections by Keith Skretch, which sometimes replicate both the set and actions of the live performers.