This BOMB podcast co-produced with 651 ARTS features Pulitzer Prize-winner Lynn Nottage and April Yvette Thompson discussing the many shared themes in their work, as well as their paths to becoming successful playwrights. This event was recorded live at the BRICstudio at 57 Rockwell place in Brooklyn on Tuesday, May 18th at the final event in their 651 ARTS’ LIVE & OUTSPOKEN series.
It is about the articulation of the literary and physical voice that I write about here, after having seen David Greenspan’s sublimely written and performed The Myopia, produced by The Foundry Theater and closing this weekend, on February 7. Greenspan’s voice and its voicings star in The Myopia, re-awakening in me a sense of awe at the voice’s astounding plasticity.
Our friends at P.S.122 are offering BOMB readers a special discounted ticket offer for Richard Maxwell’s ADS, playing through the weekend. Buy one get one free when you use code BOMB123 here. But you have to act fast, there’s a limited number and the shows will sell out! Trailer after the jump.
In PS122’s downstairs theater—a small square of a stage surrounded by black bricks—a handsome, scruffy Parisian named Jonathan Capdeville sat on a wooden chair with a boombox to his left and a duffel bag to his right. For Gisèle Vienne’s Jerk, based on the short story by Dennis Cooper, Capdeville played David Brooks, an earnest prisoner traumatized by his teenage crimes (along with Wayne Henley, Brooks assisted the Texan serial killer Dean Corrl in raping, torturing, and murdering more than 20 boys in the mid-1970s). Watching Capdeville re-enact Corrl’s murders, which are coolly ironized by his sleeveless t-shirt (“Humanity is overrated”), you’d be forgiven for wanting a little breathing room.
Kenneth Lonergan‘s The Starry Messenger opened earlier this week. From honest writing to heart-delivered acting, it is a play not to be missed.
During my first weeks of wading through the archive I was dizzy trying to make sense of all the information I was ingesting.
I didn’t grow up going to the theater, so plays for me were instructions for imagining (or also, I gathered, enacting) bizarre performance events, and curious printing practices that had arisen to reproduce this unwieldy information.
The belief that we are born with a certain purity of character unmarred by notions of desire or morality still prevails in much of our society, whether in a religious context or otherwise. As the years pass, we are burdened by politics, emotion, language and perception.
Coupling Virginia Woolf and Anne Bogart is like stoking a flame with oxygen. Filled with heat and light, combustible, offensively truthful, Freshwater is the only play Woolf ever wrote, with little intention to produce it beyond the walls of her own living room. Bogart, in turn, employs this context into her direction at the opening [...]
In this clip from a BOMBLive video, Young Jean Lee discusses how she approaches race in her new play The Shipment. For the full video head over to BOMBsite.
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