Category Archives: Theatre

Two near-misses: Sci-Filosophy at Sacred Fools and ICT

Courtesy: Sacred Fools Theatre Courtesy: International City Theatre

“Sirens of Titan” and “Uncanny Valley” at the triple point of science, philosophy, and fiction are currently on stage at The Sacred Fools and International City Theatre, respectively. “Sirens,” adapted from Vonnegut’s 1959 novel, is sci-fi a la Bradbury: Mars-centric on the outside, fully optional physics, and Earth-facing at its core. Wealthy Winston Rumfoord and his large dog travel space for the hell of it and get caught in a dimensional swirly that puts them everywhere at once and localized on Earth  on occasion. Rumfoord’s role is to make the lives of his wife Beatrice, sybarite Malachi Constant, and thousands of other dispensable earthlings a living hell. He press-gangs this lot into forced military servitude on Mars and dispatches most of them back to Earth to be annihilated in an intentionally futile war. A united and victorious Earth then congeals around a faith where God is entirely apathetic and humankind does what it can with itself. Beatrice, Malachi, and their son Chrono are interplanetary Jobs suffering torments at Rumfoord’s hands through a fixed and unalterable timeline, ending up on the largest moon of Saturn. Vonnegut has issues with free will and everyone is more-or-less along for a nasty ride in an uncaring Universe where Earth exists as a spare-parts depot for an Extremely Advanced Civilization from Far Far Away™.

Meanwhile, “Uncanny Valley,” a much more recent effort by Thomas Gibbons, looks at a mid-21st century  where the very sick and staggeringly wealthy can offload their memories and essence into a robot body. It’s immortality of the kind that throws wrenches into the family machinery, especially when children are seeking their share of a giant inheritance. Asimov’s “I Robot” explored synthetic evolution through Susan Calvin, crusty robopsychologist to fifty years of U.S. Robots products. Her counterpart here is far less crusty but a psychologist all the same – Clare Hillis’s job is to oversee the commissioning of Julian, a ‘non-biological human,’  whose emergent personality will soon be subsumed by the tycoon who funded his creation to the tune of $240 million dollars.

“Sirens of Titan” the novel is relatively easy-to-read and occasionally engaging thanks to Vonnegut’s dry, cynical prose and gimlet eye on religion.  The threads are hard to braid without periodic revisits to past chapters – who did what to whom and when?  We can safely abandon ‘why’ because it is never satisfactorily addressed.  A theatrical adaptation can’t offer flashbacks on demand and it is difficult to follow let alone decode the underlying philosophical argument – if it exists – linking the vignettes.  “Sirens” may have influenced Douglas Adams with prescient references to infinite improbabilities and hyperintelligent pandimensional beings running a planet-sized simulation for their own ends.  The excellent stagecraft and mostly solid performances, staples of The Sacred Fools and carrying well into their new space, can’t fully frame the meandering story which caps off with a One Tin Soldier ending.

Vonnegut unfortunately can’t compete with a future he helped to create,  Gibbons has to compete with  exceptionally fine prior art in android sentience.   The first act of “Uncanny Valley” is  low-conflict set up.  Clare and Julian flip  Pygmalion  as she teaches him the fine points of being a convincing gentleman while realizing that true societal acceptance may never come.  Act two has  Julian, imprinted with the past and the DNA of a now-dead man, visiting Clare on the eve of her retirement.  He dredges Clare’s own painfully buried  memories of an estranged daughter as his son asserts  legal claims to his fortune and  questions his continued existence.  This all fizzes up towards the last quarter of the play and comes off as a contrived end to justify the beginning and the middle.  Julian is now blessed with eternal life and eternal youth.  Tithonus and the Struldbrugs would be jealous.  There’s a fascinating question of whether he should merely continue as before or  renounce the past, strike out in new directions, fully embracing his rebirth.  Unfortunately, it comes too late  to explore.  Asimov and Dick, among others, have taken this general idea a lot farther.  The second season of then fledgling Star Trek: The Next Generation  had a dying genius impose his consciousness onto  the android LCdr.  Data (“Schizoid Man”).  Three episodes later, Data had his status and rights as a sentient being legally challenged by an ambitious Starfleet officer with ulterior motives (“The Measure of a Man”).  ICT’s stagecraft and cast are also reliably attractive although we are asked to believe that people in 2042 dress, talk, and use smartphone technology as they do today.  In the end, Gibbons has dug himself a hole with his premise and can’t quite climb out of it.

But, one man’s miss can be another’s bulls-eye.  Vonnegut devotees will undoubtedly appreciate a no-holds-barred attempt to stage a foundational story.  Similarly those not fully co-opted by Star Trek and other science fiction staples may be able to engage with Gibbons on the offered terms.

Sirens of Titan
adapted by Stuart Gordon from the novel by Kurt Vonnegut, Jr.
directed by Ben Rock

March 31 – May 6, 2017 at The Sacred Fools Theatre
Fridays & Saturdays @ 8pm
plus Sundays, April 23 & 30 @ 7pm
Purchase tickets online

Uncanny Valley
by Thomas Gibbons
Directed by caryn desai

April 19 – May 7, 2017 at International City Theatre, Long Beach
Thu. – Sat. at 8pm
Sun. at 2pm
Purchase tickets online
or call the Box Office at 562-436-4610 (M-F 9am to 5pm)

 

Father to the Man: ‘Titus Andronicus’ at Theatricum Botanicum

Marie Françoise Theodore and Michael McFall Photo by Miriam Geer

Marie Françoise Theodore and Michael McFall
Photo by Miriam Geer

More politics than Caesar, intrigue than Macbeth, madness than Lear, racism than Othello, petards than Hamlet, and victim-blaming than Winter’s Tale. Theatricum Botanicum‘s boisterous, unsparing staging of ‘Titus Andronicus’ delivers the goods to those with constitutions strong enough to handle the carnage. This is early Shakespeare, possibly a collaboration, introducing themes that would be fully developed in future standalone plays. The plot: Vanquished Queen Tamora of the Goths is elevated to stature in her captor’s country and takes her revenge from within.

‘Titus’ has had a checkered history and isn’t produced nearly as often as his other tragedies. The savagery and gore make it hard to stage and equally hard to stomach.  The open-air setting alleviates what could be a claustrophobic experience in a traditional venue. Director Ellen Geer smartly associates perpetual war, double standards, backroom dealings, fluid loyalties, and mindless violence in fictional Rome to the present day. Her cast of the usual family members, friends, and newcomers offers unusual depth in difficult roles. Melora Marshall and Willow Geer adeptly play male roles renamed and reworked for women.  Geer the younger, usually at her best in comedy, ratchets up to play Lucia, one of Titus’s soldier children who stays just one step ahead of the slaughters. Sheridan Crist nicely handles Titus’s descent from conquering hero to loyal subject to madness.

Michelle Wicklas and Marie Françoise Theodore Photo by Miriam Geer

Michelle Wicklas and Marie Françoise Theodore
Photo by Miriam Geer

The blood flows early, it flows freely, and a good chunk of the rough stuff is in plain view.  The company is known for its anti-war stance yet is quite sympathetic to soldiers who are mustered into battles of questionable value or sense.   As Titus is pushed lower and lower by the state he served, two of his sons are framed for murder, and he offers his hand in a futile attempt to ransom their lives. Lavinia, his favorite daughter, is stalked, raped, and mutilated by Queen Tamora’s own two sons. Lavinia begs Tamora to call off the attack only to have the mother egg her boys on. It is as pitiless and merciless as anything in the repertoire including Sarah Kane’s Blasted or Jacqueline Wright’s Eat Me and mesmerizingly played by Michelle Wicklas and Marie-Françoise Theodore.   And there would it sit except for Michael McFall’s rich, resonant turn as Aaron, Tamora’s lover, the inciter of all the mischief, and the embodiment of pure, unrepentant evil.   McFall keeps his proudly unredeemable character center-stage and on a fine dramatic edge – oozing hate, lust, and vengeance without once overplaying it.

The production values are well-designed to set off the gore.  The costumes and sets are relatively spare but the stumps and blood inevitably draw the eye.  The performers move throughout the audience and those on the aisles will see it close-up.  The cast mostly avoid overemoting although a couple of scenes generated unintended laughter due to assorted staging choices.  Marshall McDaniel and Ian Flanders’s eerie scene-intro soundscapes got lost in the wash of opening night conversations but what did leak through heightened the experience.

It is easy to wonder about the setup:  How does  a spoil of war get into a position to cause such damage?  The allegory to modern times answers it.  The powerful look the other way and take care of their own, then as now.  It also raises the uncomfortable question of whether it is a good idea to show any mercy to a defeated enemy, no matter how just or unjust the war.

Titus Andronicus
in repertory through 25 September 2016

Will Geer’s Theatricum Botanicum
1419 N Topanga Cyn Blvd.
Topanga, CA 90290

Season Brochure: http://theatricum.com/wp-content/uploads/2015/06/2015Brochure.pdf

BOX OFFICE 310-455-3723
Tickets online at http://theatricum.com/tickets/

You Done Messed Up A-Aron!

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Abjured Magic: ISC’s Richard III

The highs and lows average to solid in ISC’s Richard III on until the 24th July at Griffith Park.  Impresario David Melville assumes the mantle and a couple of other positions surrounded by an often amazing cast and disturbing electrification.   Director Melissa Chalsma codistills the original and Colley Cibber‘s once-popular adaptation amplifying the action but wisely restoring some of Cibber’s deletions.   Melville forgoes the hump for a limp,  is convincing when raging and scheming, and less-so when sweet-talking and seducing.  Amid the new faces is the welcome return of company veteran Lorenzo Gonzalez  whose own Richard dazzled at Barnsdall Park in 2005.

There’s a lot of ground to cover in the first half, mostly with corpses.  Not short by any means, it feels rushed and it is often a strain to figure out who is doing what to whom and why.  With so much real and implied gore, we wonder if nibs of the Merrie Olde were bound by any laws at all.  Post intermission fares better especially in a superb scene redolent of the Trojan Women in which exhausted ladies of war-ravaged houses contemplate a grisly future.  Bernadette Sullivan, Mary Goodchild,  Aisha Kabia, and Kalean Ung swim this 4×100-m hatred relay brilliantly and it is a good job that it was part of the restoration.   That anchor leg is a pipterino and further marks Ung as one to watch.

ISC is rightly proud of the number of people it reaches through the summer fest.  But, pursuing and serving that metric isn’t free.  The kit grows every season.  2016 features a large lighting rig courtesy of a foundation grant, more microphones, more speakers, a NASA-sized mixing board, ever fancier costumes, and stage fog.  Some of the tech does afford the leeway to cast actors with differing levels of vocal preparation but it grows farther from the no-frills aesthetic the company brought to LA back in 2002 and preserved until the past few seasons.  Most intrusive is the addition of a loud rock band that strikes up  to crush the magic the moment a scene ends.  The Duke of Buckingham pleads with King Richard, “Give me some little breath, some pause, dear lord.”  We know where he’s coming from but we too aren’t requited.  There’s no time to savor the words because a quartet of the play’s supporting cast occasionally supplemented by Melville shred the air with guitar and drum.   To be fair, most of the crowd ate it up.

ISC takes care to survey its audiences and perhaps this is what it has to do to keep people coming to the Old Zoo.  The festival audience could be of the growing belief that silence of any kind is not to be trusted.  Maybe we’ll see two distinct sets of offerings in the future: Old school ISC indoors at its studio and a flash-bang summer season for the Internet generation at Griffith Park.

The Tempest begins July 30th.

RICHARD III

Adapted by Independent Shakespeare Co. based on the work of Colley Cibber
Begins Saturday, June 25 and Sunday, June 26 Then plays Wednesday – Sunday until July 24
Performances at 7:00 pm  at
The Old Zoo, Griffith Park

FREE (donations gratefully accepted)

http://iscla.org  

Bei Mir Bist Duchenne: ‘Lunatics and Actors’ by The Four Clowns

 

“Honesty. That’s the thing in the theater today. Honesty … and just as soon as I can learn to fake that, I’ll have it made.”
Anonymous

Grab the speedometer and move it, the car does not speed up. Mock up an airport, planes will not come. We are conditioned to causality and that the mere appearance or measure of a thing is not (usually) a handle into the thing itself. We smile when happy, cry when sad, and believe that we can tell when emotions are genuine or contrived. It comes as some surprise that this may not be entirely true. There is evidence that outward expressions, real or fake, may drive physiological processes instead of merely being driven by them. This two-way street is at once interesting and lucrative. Demagogues and marketeers profit by inventing stimuli to induce specific responses. A big part of culture and its preservation is in the transmitting feelings and emotions through performance.  Authenticity – whatever its definition – is considered essential.

Click image  to enlarge: G.-B. Duchenne de Boulogne, Synoptic plate 4 from Le Mécanisme de la Physionomie Humaine. 1862 – Wikimedia Commons: Public Domain

Playwright David Bridel takes on the latter in ‘Lunatics and Actors’ mounted through the end of May by The Four Clowns at Shakespeare Center LA. Scientist Guillaume Duchenne de Boulogne (Thaddeus Shafer) asserts that he can evoke performances from his trio of patient/inmates (Tyler Bremer, Andrew Eldredge, and Alexis Jones) that surpass in intensity and authenticity those by conventionally trained actors. His electrochemical method will find gleeful interest from results-oriented directors tired of having Stanislavski flung back at them. The intriguing premise draws from nineteenth century events. The historical Duchenne performed early research in connecting human physiological and physiognomical reactions to electrical stimuli. He applied shocks to patients, photographed their faces, and in time could evoke specific expressions from them at will. Much of this work would be frowned upon today for ethical reasons but it came with other results in different areas that persist. Duchenne laid the foundations for modern neuroscience. The bidirectionality of emotion has since been intensively and controversially studied by Ekman, Zajonc, and others.

(standing) Thaddeus Shafer as DR. DUCHENNE (seated from left to right) Tyler Bremer as BON-BON, Alexis Jones as FIFI, and Andrew Eldredge as PEPE. Photo courtesy of Andrew Eiden

(standing) Thaddeus Shafer as DR. DUCHENNE (seated from left to right) Tyler Bremer as BON-BON, Alexis Jones as FIFI, and Andrew Eldredge as PEPE. Photo courtesy of Andrew Eiden

The setup requires actors in the audience to volunteer for light onstage duty. This being Los Angeles, it isn’t a problem. Duchenne runs through an interview followed by exercises and a compare/contrast. Meisner, Linklater, and Alexander may help the aspiring actor but a healthy zap from the glowing Volta pile invokes a style of its own. The inmate trio, all experienced clowns, win the intensity fight in a walk. Director Jeremy Aluma has to take his time churning the cream and the laughs hide a somewhat lengthy introduction. It snaps into butter when the contest shifts to ‘Hamlet’ and its endless opportunities to test authenticity (or anything else of interest to artists). Convention holds its own for subtlety but not for pain, fear, or terror. A change from funny to harrowing occurs in a tight, disturbing vignette to rival ‘Clockwork Orange’ or ‘1984’. A final distillation of ‘Hamlet’ to a delicate touch of ‘Pagliacci’ is a marvel. Focussing on the terrifying, it is entirely different from the troupe’s recent reimagining. Give substantial credit to the large design team. Their coherent efforts drive a fanciful story which might fall flat in less skilled hands. The Clowns don’t skimp on production and one wonders how they balance the books against a batguano-crazy $15 ticket price.

There are inside jokes aplenty within the world of the play. Theatre in Los Angeles is considered the domain of the insane.  Are the three inmates victims of an unscrupulous workshop-monger?  Bridel is the incoming Dean of Theatre at USC. Does this foreshadow his plans for the school?  Perhaps only artists can or will get the full scope of it. But, the promise and threat of machines has been a staple of storytelling from ‘Frankenstein’ to ‘Blade Runner’ and beyond. Can we controlled by electrodes? Yes but we’re attached enough to our screens to make such a physical connection unnecessary. A more unnerving question is what form the next evolutionary step will take once we or our algorithms figure out what makes us tick. The reductionist approach claims that once we find the root of the structure that everything will follow. Others argue for multiple processes that compete with and against one another in a sort-of roshambo. Either way, the tacit assumption is that machines would then emulate us, only much much faster. Why stop there? The Melancholy Dane may have been overly optimistic about the Godlikedness of man – we are most likely just another step along the path. That’s what make these clowns the ones of nightmares. Go see them but leave the kids at home.

Four Clowns presents
Lunatics & Actors
by David Bridel
directed by Jeremy Aluma

A WORLD PREMIERE

April 29 – May 28, 2016
at The Shakespeare Center of Los Angeles
1238 W 1st Street
Los Angeles, CA 90026

Performances start at 8pm
Street parking in the neighborhood

Stage Manager Ashley Jo Navarro
Assistant Director Amaka Izuchi
Set Designer Fred Kinney
Lighting Designer Azra King-Abadi
Costume Designer Elena Flores
Sound Designer Kate Fechtig
Propsmaster Niki Mercs
Technical Director Matt MacCready
Producers Jeremy Aluma and David Anthony Anis
Associate Producers Jennifer Carroll and Julianna Stephanie Ojeda

ILHAMA feat. DJ OGB – Bei mir bist du scheen

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Agreement Clinic: ‘A Walk in the Woods’ at ICT

Courtesy International City Theatre

Courtesy International City Theatre

Lee Blessing could not have forecast in 1988 that the Cold War would take an abrupt turn for the weird just two years later. ‘A Walk in the Woods’ at ICT through 22 May has nevertheless enjoyed a successful life despite drastic shifts in superpower status and the methods of war. It isn’t surprising. It is easy to look back wistfully at Mutually Assured Destruction as nation states veer on collapse and real power is concentrated in a few hidden hands.

The play’s setup is simple and historically informed – two arms negotiators, veteran Botvinnik and newcomer Honeyman, try to achieve in the Swiss woods what they can’t over the bargaining table. The amiable Russian tries to engineer a friendship, the formal American worries that he’s being worked. That can happen when one’s opponent is the namesake of a legendary Russian grandmaster. The four evenly timed acts alternate between Pythonesque rhetorical posturing (“I came here for an agreement! No you didn’t!”) and moments of genuine connection when it looks like our heroes may have given their masters a face-saving way back from the brink.

This, however, isn’t a documentary or even intrinsically theatrical. Blessing strives for a duet of ideas, some more compelling than others. ‘Walk’ shines when the younger American slowly realizes what his older counterpart has learned: Neither side wants an agreement – MAD is too good for business on both sides of the curtain. The corrosive stalemate on the large scale is recapitulated on the small and all levels in between. The interwoven buddy comedy lives well with Tony Abatemarco (Botvinnik) and David Nevell (Honeyman) under John Henry Davis’s direction on a stark set (Christopher Scott Murillo) and subtle lighting (Donna Ruzika). But, cynics have the advantage in these situations and Blessing’s asymmetrical characterization keeps Honeyman on the back foot until the very end when he figures out that what’s real and what’s virtual in the world of diplomacy.

The monsters in ‘Walk’ are less frightening today than the one in Blessing’s equally popular ‘Going to St. Ives.’ Nations may treat one another poorly but they reserve true brutality for their own. Both have characters doubling as ideologies (and vice versa) reminiscent of Shaw’s theatrical polemics. Although the premise and the balanced characterizations give ‘Ives’ the edge as a play, ‘Walk’ is an evening of theatre worth the trip.

A Walk in the Woods
by Lee Blessing
at International City Theatre
27 April to 22 May 2016
Thu. – Sat. at 8pm
Sun. at 2pm
Long Beach Performing Arts Center
330 East Seaside Way
Long Beach, CA 90802

Tickets: Online and at the Box Office 562-436-4610 (M-F 9am – 5pm)

Argument Clinic – Monty Python's The Flying Circus

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Nice Work if You Can Get It: ‘Lear’ at City Garage

Playwright Young Jean Lee has a Guggenheim, two Obies, a couple of Duke Foundation awards, a basketful of government and private grants, multiple commissions, a screenplay, a Berkeley degree, and her own theatre company whose mission is to produce the work of Young Jean Lee.

God help us.

http://www.citygarage.org for details of her take on King Lear

Ella Fitzgerald & Louis Armstrong – I Got Plenty O' Nuttin'

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Grinding gears – “Hamletmachine: The Arab Spring” at City Garage

http://www.citygarage.org/uploads/images/News-Images/Hamletmachine-Flyer_web.jpg

Image courtesy City Garage

“If you feel dissatisfaction
Strum your frustrations away
Some people may prefer action
But, gimme a folk song any old day”
— Tom Lehrer “Folksong Army”

Heiner Müller adapted Hamlet to his purposes in 1977 when the Germanies were split and Moscow ruled with no end in sight. ‘Hamletmachine’ has since become a darling of the late-night set and the adaptation further reschnootered according to the needs and means of its producers.  Magda Romanska flipped the point of view in ‘Opheliamachine’ presented by City Garage in 2013 and now the Garagistes take a second try at the original.  It is a tough slog even for the interested, receptive participant.

It is unclear whether the playwright gave explicit permission for his six page text to be freely interpreted and amended but that’s what happens to it.   The tyrannical regime is now in a generic middle east, the people revolt, and the fallout is unpredictable.  What this has to do with two Hamlets, Gertrude in a wedding dress, Marx in a wheelchair, and  Ophelia in a bomb vest is anyone’s guess.  Video projections cover rioters, dead children, and modern mullahs preaching holy war.  Bits and pieces of Shakespeare peek out in a turbulent, loud, and ultimately opaque river of words.   A bizarre fashion show emceed by a latter-day Marie Antoinette stands out as a caution against the consequences of unchecked inequality. Read it as a fundamental difference between West and East, proof of their equivalence, or anything else that catches fancy. For those who believe no explanation is necessary, for those who don’t none is possible.

It is no fault of City Garage that the Paris attacks  coincided with the day of the opening.  The preshow chatter was the normal silliness, easily silenced with headphones.  Duncombe’s short curtain speech suggested that the events raised important questions in context of the play and invited dialogue after the performance.  Normally it is best to leave opening night parties to  friends and family to chatter with the cast.  The gravity of the day’s events led to unmet hopes for a little more substance.  The company proudly quotes Brecht’s maxim that Art is a hammer with which to shape reality. While it may be true, the  Shakespeare machines are weak evidence.  The contrast between action and contemplation is much more stark in Shaw who wrote “Nothing is ever done in this world until men are prepared to kill one another if it is not done.”  While this can be easily rationalized as strategy versus tactics, it is a better representation of history and a grisly predictor of our future.

‘Hamletmachine’ is the first salvo in City Garage’s Post-Modern Shakespeare Series. It runs until 20 December 2015 followed by Young Jean Lee’s ‘Lear’ and Duncombe’s ‘Othello/Desdemona’ in February and April of 2016.

Hamletmachine: The Arab Spring
by Heiner Müller, adapted by Charles Duncombe
Directed by Frédérique Michel

Fridays, Saturdays 8:00pm; Sundays, 3pm through 20 December 2015
Admission: $25; Students w/ID & Seniors (65+): $20; Sundays “Pay-What-You-Can” (at the door only)
No performances Friday 11/20 and Friday 11/27.

City Garage
Bergamot Station Arts Center
Building T1
2525 Michigan Ave.
Santa Monica, CA 90404
Purchase online at Brown Paper Tickets
Box Office: 310-453-9939

Theatre jumps shark – ‘Man Covets Bird’ at 24th Street

[Updated 28 September 2015]

24th Street Theatre does exceptional work in arts education, outreach, and after school programs with a special focus on its underserved neighborhood next to USC.  It has also produced plays over the years with mixed results.  Since 2012, it’s production arm deliberately shifted to “Theatre for Young Audiences” (TYA) and things have frankly gone downhill.  ‘Roma al final de la via’ landed with a thud, ‘Nearly Lear’ was passable but far short of the hype.  I did skip the Dead Grandma show that ran for months and toured to good reviews.   The program  purports despite its name to bring sophistimacated work to all ages.  This is strange since there are plays from antiquity to the modern day that do exactly that and in front of broad demographics.  Rather, TYA seems to be a newish industry with international conferences, showcases, and a substantial caste of arts MBAs overseeing hookups between a cadre of authors and producers.  There’s even a white paper on the topic aggressively titled, “Does Youth Theater Really Have to Be So Pandering and Simple-Minded?”  It’s an interesting read but only for the subtext.

‘Man Covets Bird’ by Finegan Kruckemeyer, a prolific 34 year old Irish Australian, is a wan rehash of the Up With PeopleFree to be You and Me swill some of us were fed in the ’70s and ’80s.  Live your heart, open your dreams, follow your laugh, dance your dissertation, live in an ice cream van down by the river.  Two beardy emerging artists from from your locally-owned, fair-trade, carbon-neutral coffeeshop’s open mic night perpetrate the text to projected animations.  One of the two is responsible for the alleged music.  This after school special is as specific as a horoscope, as flavorful as tofu, and open to any interpretation one might wish to hang on it. It’s a piece calculated to leave talking opportunities for adults and any associated kids – the term ‘conversation’ is popular these days. This usually means the person in power frames the discussion and defines the boundaries. It is a common enough gimmick in the manager-employee relationship. It is also around in the arts world where critics try to justify their marginal value as dialogue mediators. In both cases there’s hell to pay if the employee or reader calls b.s. and chooses to have his own view of things. ‘Bird’ and TYA may be good vocational preparation but the artistic claims are overstated.

It is unfortunate that the company has gone down this route. The curtain speech explains that 24th Street spends most of its money on two pillars of education and outreach, producing theatre only when needed and when funds permit. Here’s to hoping they focus on the nobler work,  abandon the production arm, and occasionally rent the attractive performance space to other organizations.

Aside: The marketing materials for ‘Bird’ all say, “Because it’s a liberating thing to talk publicly about things you’re only supposed to think privately.”

Really?

I Want to Touch People!

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