Though its music, and use of Mapplethorpe’s photographs and texts by Essex Hemphill and Patti Smith were impressive in their own rights, the performance Triptych (Eyes of One on Another) ultimately appeared cheap, forced, and self-congratulatory.
Michael R. Jackson’s subversive sermon on the conflicted heart of a Black, queer man writing a musical about a Black, queer man details an artist’s fight against society’s expectations of what he should be.
Imhof’s performance Sex is dramatic, even melodramatic, yet its drama is not sensual; it removes bodily urges from the mix.
The show demonstrates that human connection isn’t dead in spite of the forest of technology that separates us from each other, and that we can have our limbic state reset through music.
The Grounds that Shout! project put Reggie Wilson in the role of curator as well as choreographer to present his own work alongside the dances of seven Philadelphia choreographers and companies who created the performances.
The work on display at Berlin’s Theatertreffen draws on film, novels, Brecht, and ancient Greek drama.
The anonymous art collective simply known as the Art Department transformed a decommissioned building into “a secret wish-processing facility.”
A glimpse into the impressive breadth and variety of performances and lived experiences of disability.
In My First Film, Zia Anger explores the humor, anger, and heartbreak she feels about her lost work, all live onstage.
A new play, Paul Swan is Dead and Gone, imagines the life of the late dancer, artist, and Andy Warhol muse once known as “The Most Beautiful Man in the World.”
A rebellious Broadway revival of the 1943 musical brings hatred into the heartland — a stunning indictment of America’s current woes.
Robert Lepage’s production design is unforgettable, and the giant machine that serves as its centerpiece is distinctive enough to seem like its own character.