Love may be the antidote to death, or it may be its side dish.
For Edgar (Richard Topol) and Alice (Cassie Beck) in Conor McPherson’s adaptation of Strindberg’s Dance of Death, directed by Victoria Clark, it is the cruellest of emotions.
The couple, on the verge of their 25th anniversary, have never stopped torturing each other.
Alice invites her hapless, if not so innocent, cousin Kurt (Christopher Innvar) to visit in their remote island home. He is readily drawn into their lies and deceptions, deceits and insinuatons.
Watching Alice and Edgar in their exquisite mutual torment is like the proverbial trainwreck: you are horrified yet cannot look away.
The acting of all three principles is so seamless that the escalations of the hurt are palpable, subtly-defined and well-choreographed. We are enthralled by the fiendish wiles and messy tangle in Edgar and Alice’s marriage, and riveted by Kurt’s engagement with them. Victoria Clark directs with a deft, light hand that allows us to see under the surface.
Strindberg is seldom on stage. If you have not seen him, let Conor McPherson introduce you to him. Dance of Death is a must-see production.
Conor McPherson’s adaptation of Strindberg’s Dance of Death, durected by Victoria Clark, plays in repertory with Yael Farber’s Mies Julie, directed by Shariffa Ali at Classic Stage Company through March 10th.
Partnering has developed a new look as the 21st century progresses. Partly, this is a reflection of a more liberal social milieu. Gender fluidity is the term of art for this LGBTQ-era. Same sex marriage, mixed use bathrooms, dorms which house both boys and girls on the same floor are part of our new-age maturity.
Equality has certainly not come full-circle. The workplace and the quotidian are still often off-kilter and exhibit the same kinds of inequities that have been with us forever. We are working on it, much as the dance makers are working on many more diverse ways to partner.
Many choreographers– Justin Peck, Christopher Wheeldon Benjamin Millipied etc.– experiment with male on male lifts, and Jessica Lang has a woman catch and release her male partner at one point in Her Notes.
Roles can be reversed for Mr. Mom and his executive wife. We’ve come to accept that and to expect to see it in our arts and entertainments. The glass ceiling– and other prejudices and biases– will be broken and taken down in tiny steps rather than with crowbars.
The kiddie show format can be very instructive, and not just for the kiddies. You and I can learn a great deal from shows like that put together by puppeteer Joshua Holden and with live music by Jeb Colwell in The Joshua Show: Episode 2, running at HERE Arts Center through September 30th. Joshua and Jeb are out to make us happy. The Joshua Show: Episode 2 plays in repertory withThe Flatiron Hex.
The latter, although a comedy with puppets, is decidedly not for children. The Flatiron Hex explores a bloody and dystopic New York City. It is a noir look at interconnective living and a world filled with intelligent mainframes and dangerous code. The Flatiron Hexstars James Godwin as computer genius Wylie Walker.