It is sometimes harder to put a concept better expressed in the physical, into words.
I admit that it can be difficult for a critic to articulate what s/he sees presented on the stage. Some things are visceral. This is particularly true of dance where emotion and meaning are conveyed in gestures, movement and context. It also often applies to experimental theatre which tends towards the cerebral.
Katie Workum and her collaborators want to communicate about their work, The Door’s Unlockedin exclusionary descriptives. This is how the work is described: “Let’s be clear: This is not a dance piece. This is a conjuring inside a temporariness. This is connecting the dancers with the dance. This is a negotiation of our togetherness. This is entering the unknown without demanding to know. “
She and her collective, the eponymously named Katie Workum Dance, will perform the multi-platformed piece at Foley Gallery at 59 Orchard Street; they expect that it will change with each iteration and audience to which it is presented, from February 3 through 9.
In speaking of the experimental in theater, I am always referencing LaMaMa as a touchstone. So, I am glad to be able to include in this posting a little something of what they will be up to in the new year.
La MaMa, in association with Tokyo Metropolitan Theatre and NODA・MAP, presents the U.S. Premiere of One Green Bottle from February 29 through March 8, 2020 at The Ellen Stewart Theatre, La MaMa Experimental Theatre Club. One Green Bottle is an absurdist work in which gender is bent, and our societal foibles, from consumerism to selfie-addiction, is explored.
LaMaMa may have been at the forefront of theatrical happenings, of course, but all theatre is about performance, sentiment and interaction. What is on stage is always a happening.
The 1st Origin Irish Festival is in its 12th season of competition., beginning on January 7th and running through February 3rd. The festival is a highly curated event, devoted to producing the plays of contemporary Irish playwrights from around the world with a total of 15 productions being presented in venues all over NYC. During the Closing Night Ceremony on Monday, February 3rd, the Best of Festival Awards will be handed out.
A multi-generational drama, Echoes in the Garden, is on offer at The Chain Theatre this March 11th through 29th. The world premiere of Ross G. Hewitt’s new play about family, grief and obligation is producted by American Bard Theater Company and directed by Aimee Todoroff.
Also at The Chain, beginning on February 7th and running through the 22nd is another premiere, Chasing the River. Written by Jean Dobie Giebel and directed by Ella Jane New, Chasing the River depends on memory and its intersection with PTSD to tell its tale of second chances, survival and the healing power of love.
What is the Straight Pride Parade, I ask myself as I read Jamie Benson’s email. Subject line: “Queer Comedy Duo Reacts to Straight Pride Parade with “The Straight Man Celebrates Gay Pride” on June 29th.”
I Googled the “Straight” part of this new meme and found that there are many protests to its offensiveness. It is the elitist equivalent to “White Lives Matter” as if the #BlackLivesMatter movement takes anything away from people not of color. As if it could? Power and privilege really do put some of us at an advantage.
Inclusiveness or inclusitivity needs more practitioners.
Save yourself the fare for the trip to Boston where you will be ridiculed for your life choices and poor behavior, and go instead to see Jamie Benson’s comedy duo, The Straight Man (TSM-Hannah Goldman and Benson) and others.
Their program The Straight Man Celebrates Gay Pride is at the PIT (People’s Improv Theatre) on June 29th at 9:30pm.
The comedy duo and friends perform throughout the year as well. Says Jamie Benson, co-producer of TSM: “Considering that NYC comedy is still dominated by straight males, our search for queer comedic sanctuary is still so damn relevant. It’s a sad need that we’re filling with joy.”
There is a type of comedy in which the hero (or heroine) allows a sketchy friend to help him/her make a sketchy choice.
Poor judgement is funny, or at least leads to comic situations. Jason Bateman’s character in Extract, for instance, is lead down this path by Ben Affleck’s Dean, a dodgy fellow if ever there was one. And one guaranteed to make the worst suggestion in any circumstance.
This comic trope lets the main character remain heroic and redeemable. On other occasions, often the funny is in the delusional justifications for bad behavior.
Wrong decisions coupled with an indignant sense of righteousness (as Danny McBride exhibits in Arizona, for example) become hiliarious.
Complications arise from the initial missteps, and are compounded as the errors compound. The set-up builds to additional troubles in an onslaught of the outtrageous.
T and B sit in aisle seats at our “in-house theater” where movies are the entertainment.
Here on our little island home, we let Showtime® or Movies!® or TMC® (among others) regale us with cinema past present and future.
A little tremor passed through me when I picked up the December 3rd issue of The New Yorker to find a reprint of a Nora Ephron piece from 2006. The shudder was the thrill of serendipity.
I had just seen Heartburn and here she was chatting about cooking and food. In the article, Serial Monogamy, she acknowledges that the roman à clef upon which the film is based is a thinly disguised version of her second marriage. The ups and downs and downs of this union are played out by Meryl Streep as Rachel Samstat and Jack Nicholson as her not so faithful husband, Mark Forman.
I never take serendipity lightly or for granted but frequently have no idea what to do with it. This is such a case, a reinforcement as it were of its very randomness.
Ephron’s story stirred another chord of memory for me. My mother had been working on a Meditterean cookbook for some time. Her manuscript sits in my closet and I wonder if I should try some of her recipes.
I wonder, but mostly I feel guilty because I know I won’t make any attempt to replicate her best-loved dishes. Then, perhaps, I should just acknowledge that I am too random a cook to follow anyone’s directions. And that I am better off not messing with her signature.
Leaving a bad taste
There are few scenes of cooking in a Woody Allen feature, notably the hilarious lobster bruhaha in Annie Hall and the feasts whipped up by the title character (portrayed by Mia Farrow) in Hannah and Her Sisters. Allen is a frequent guest in our home–not in person, of course, although I did run into him in the neighborhood once. We generally find his movies interesting, thought-provoking, and brilliant. We have admired his genius.
Unfortunately, Allen has had a substantial helping of problems of late, landing in the fire for alleged sexual misconduct of a heinous variety. His films are suggestive of a guilty verdict.
For instance, I found Play It Again, Sam funny, brilliant and moving upon a recent re-viewing. Then we came to a truly objectionable scene in which Allen and Diane Keaton appear to exalt the virtues of rape. Is there a point, beyond being outrageous to this? How does Keaton react to the impropriety of the script, I wonder?
In Manhattan, Allen’s man-child character is dating an underage, if extremely mature Mariel Hemingway. This has always made me cringe and turned me off this film, despite its many lovely images of the city, and some very smart dialogue.
Hot Water Indeed
Then there’s Hannah and Her Sisters, a wonderful study of love and relationships in their many permutations, marred by the introduction of pedophilia. It’s brought in as a small bit in which Allen’s Mickey, a comedy writer and show runner, is battling his network–and his assistant, played by Julie Kavner–over including a segment in which this taboo is prominent.
Really? The presence of this in this iconic movie has fuelled and given credence to the allegations against Woody Allen.
We are left with a few pictures we can whole-heartedly endorse in the backlist of Allen’s output. Broadway Danny Rose may be his most romantic venture of the earlier works.
It is a critical no-no for a critic to confuse the art with the artist, of course, but the crisis challenging Allen fans looms large. His early oevre seems to feed into the #MeToo-related issues that plague him. Thankfully, the more recent films are here for us to reaffirm his intense dedication to the art of the cinema and his astonishing talent.
Don’t disparage the chance to watch theater or hear music while enjoying a meal. It has the old time charm of the big band era. Thinking of dining while being entertained reminds me of ball gowns and tuxedos– in short it simply sounds elegant. Even the vulgar were properly attired in those days.
In our loosey goosey environs, the chances are that you are decked out in an elegant pair of shorts with a tucked in shirt. You order a burger, rather than prime rib, and beer rather than bubbly.
The show, too, may be less burlesque, drama, lounge act and cabaret than it might be one of those guess- who-dunnits from the murder mystery circuit. Don’t get me wrong, there is room for an amusing evening in which we wonder which of our neighbors stuck a knife in a sidekick’s back while we ate our fries! It just is not as highbrow or as uplifting as theater can sometimes be. The dramatics and dramatization may be broader than on Broadway, too.
As for the dress code for the audience, well, I haven’t worn a gown to a show in a long time, if ever. I look to the costume designer to dress the actors in an inspirational way. I can aspire to high-falutin’, ya know.