DOCSLIB.ORG

THE WOOSTER GROUP CRY, TROJANS! (Troilus & Cressida)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE WOOSTER GROUP CRY, TROJANS! (Troilus & Cressida) THE WOOSTER GROUP CRY, TROJANS! (Troilus & Cressida) FEBRUARY 27 – MARCH 1 | 8:30pm MARCH 2 | 3:00pm MARCH 4 – MARCH 8 | 8:30pm MARCH 9 | 3:00pm presented by REDCAT Roy and Edna Disney/CalArts Theater California Institute of the Arts THE WOOSTER GROUP CRY, TROJANS! (Troilus & Cressida) Text by William Shakespeare With Ari Fliakos, Jennifer Lim, Greg Mehrten, Suzzy Roche, Andrew Schneider, Scott Shepherd, Casey Spooner, Kate Valk, and Gary Wilmes Directed by Elizabeth LeCompte Set Elements, Props, Costumes: Folkert de Jong, Delphine Courtillot Sound: Bruce Odland Live Sound Mix: Bobby McElver, Max Bernstein Lighting: Jennifer Tipton Video, Projections, Control Interfaces: Andrew Schneider Stage Manager: Teresa Hartmann Assistant Director: Jamie Poskin Assistant Costumes: Enver Chakartash Assistant Lighting: Ryan Seelig Wardrobe, Make-up: Naomi Raddatz Production Manager: Emily Rea Technical Director: Bill Kennedy Touring Technical Director: Eric Dyer Video Totems: Ruud van den Akker, Aron Deyo Sound Consultant: Jim Dawson Producer: Cynthia Hedstrom General Manager: Sandra Garner Development: Leanne Mella Marketing: Mike Farry Archivist: Clay Hapaz Video Dailies: Zbigniew Bzymek, Juliet Lashinsky-Revene, James Allister Sprang CRY, TROJANS! (Troilus & Cressida) began as a collaboration with the Royal Shakespeare Company. That production, titled TROILUS AND CRESSIDA, was commissioned by the RSC for the World Shakespeare Festival, part of the London 2012 Olympics Festival. Partial credits for the original production: For the RSC: Director: Mark Ravenhill. Cast: Joe Dixon, Scott Handy, Aidan Kelly, Clifford Samuel, Zubin Varla, Danny Webb. Scenic Design/Costume Design: Laura Hopkins. Lights: Nigel Edwards. Music: Dave Price. Associate Director/Movement Director: Jane Gibson. Stage Manager: Paul Sawtell. For the Wooster Group: Director: Elizabeth LeCompte. Cast: Zbigniew Bzymek, Jibz Cameron, Ari Fliakos, Marin Ireland, Jennifer Lim, Bobby McElver, Greg Mehrten, Bruce Odland, Andrew Schneider, Scott Shepherd, Gary Wilmes. Props and Costume Design: Studio Folkert de Jong with Delphine Courtillot. Music Director: Bruce Odland. Associate Director: Kate Valk. Production Manager: Bozkurt Karasu. Stage Manager: Teresa Hartmann. Assistant Costumes: Enver Chakartash. For complete credits, visit www.thewoostergroup.org/troilus. DIRECTOR’S NOTE In 2012 we performed TROILUS AND CRESSIDA in London with the Royal Shakespeare Company. They played the Greeks and we played the Trojans. We have reworked that production into our own piece, CRY, TROJANS!, telling the story from the Trojan point of view. To portray the Greeks, we wear masks and imitate the British performances from a recording of the London production. –Elizabeth LeCompte Who’s who in the cast TROJANS in order of appearance Troilus, son of Priam........................................................................ Scott Shepherd Pandarus, Cressida’s uncle ............................................................. Greg Mehrten Varlet, a servant ............................................................................. Ari Fliakos Aeneas, a Trojan commander ............................................................... Andrew Schneider Cressida, Calchas’ daughter ........................................................... Kate Valk Antenor, a Trojan commander ........................................................ Casey Spooner Hector, eldest son of Priam and the greatest Trojan warrior ........... Ari Fliakos Paris, son of Priam .......................................................................... Gary Wilmes Helenus, son of Priam ..................................................................... Bobby McElver Priam, King of Troy ................................................................................. Greg Mehrten Cassandra, Priam’s daughter and a prophetess ............................... Suzzy Roche Musician ......................................................................................... Max Bernstein Calchas, Cressida’s father and a defector to the Greeks .................. Scott Shepherd Andromache, Hector’s wife ............................................................. Jennifer Lim GREEKS (in masks) in order of appearance Agamemnon, general commander of the Greeks ............................. Scott Shepherd Helen, a Greek queen living with Paris in Troy .................................. Kate Valk, Scott Shepherd, Andrew Schneider Diomedes, a Greek commander ..................................................... Ari Fliakos Ajax, a Greek commander ............................................................... Casey Spooner, Gary Wilmes Achilles, a Greek commander and the greatest Greek warrior ......... Scott Shepherd Ulysses, a Greek commander .......................................................... Andrew Schneider Thersites, a deformed and scurrilous Greek slave ........................... Greg Mehrten The Myrmidons, Achilles’ men ......................................................... Andrew Schneider, Casey Spooner, Gary Wilmes SYNOPSIS The play is set in the seventh year of the Trojan War. Troilus, a prince of Troy, is in love with Cressida, a Trojan girl whose father has defected to the Greeks. Her uncle Pandarus acts as a go-between, wooing Cressida on Troilus’ behalf. The cause of the war is Helen, the world’s most beautiful woman, wife of the Greek king Menelaus. She has been abducted by Paris, a Trojan prince, and the Greeks have laid siege to Troy in order to get her back. Prologue: A varlet sets the scene and tells us that the story skips over the beginning of the war and starts in the middle. Scene 1: Troy. Troilus withdraws from the battlefield, too lovesick to fight. He makes his complaints to Pandarus. Pandarus, feeling unappreciated, complains back. Scene 2: Troy. Pandarus praises Troilus to Cressida. She pretends disinterest. They watch the warriors returning from battle, and Pandarus tells her who they are. Scene 3: Troy. King Priam and his sons meet in council to consider an offer from the Greeks: return Helen and the war will be over. Cassandra breaks in with prophecies of doom if Helen is not returned, but the men agree to keep Helen. Scene 4: the Greek camp. The Greek commanders Agamemnon and Ulysses discuss troubles in the Greek ranks. The Trojan warrior Aeneas appears unannounced to deliver a challenge: any Greek who thinks his lover is true, let him prove it by facing Hector, Troy’s greatest fighter, in single combat. Scene 5: Troy. Pandarus visits Paris and Helen. He asks Paris “to make excuse” for Troilus at dinner. Paris knows this means Troilus will be with Cressida, though Pandarus tries to deny it. Scene 6: Troy. With Pandarus’ help, Troilus and Cressida meet, swear their love, and go to bed together. Scene 7: the Greek camp. Calchas, Cressida’s father and a defector to the Greeks, persuades the Greeks to trade Antenor, an important Trojan prisoner, for Cressida. Diomedes is sent to make the exchange. Scene 8: Troy. Aeneas meets Paris and Diomedes on their way to collect Cressida. Paris sends Aeneas ahead to alert Troilus. ~INTERMISSION~ Scene 9: Troy. Troilus and Cressida arise after their night of lovemaking. Aeneas brings the news that Cressida must leave Troy. The lovers vow to remain faithful and exchange tokens: a sleeve and a glove. Diomedes arrives and takes Cressida away. Scene 10: the Greek camp. The Greek commanders take turns kissing Cressida. Hector arrives to fulfill the single-combat challenge issued in scene 4. The Greek contender is Ajax, Hector’s cousin. Hector bests Ajax but lets him live. Achilles boasts that he will kill Hector in battle. The Greeks invite the Trojans to feast with them. Scene 11: the Greek camp. Ulysses brings Troilus to spy on Cressida as she has an amorous meeting with Diomedes. Thersites, a Greek slave, spies on them all. Cressida gives Diomedes the sleeve that Troilus gave her. Scene 12: Troy. Hector’s wife Andromache has had ominous visions and begs Hector not to go to battle. She enlists Cassandra and Priam to help, but Hector insists he is honor-bound to go. Pandarus brings Troilus a letter from Cressida. Scene 13: the battlefield. Troilus pursues Diomedes. Achilles in rage pursues Hector to revenge the death of Patroclus, his beloved companion. Achilles and Hector fight to exhaustion, and Achilles withdraws. Hector pursues and kills a soldier for his fine armor. He sets down his weapon to collect the armor. Achilles appears and orders his men to ambush Hector while he is unarmed. Achilles drags Hector’s dead body behind his horse. Scene 14: the battlefield. Troilus vows revenge. Pandarus delivers an epilogue. ABOUT THE WOOSTER GROUP Founded in 1975, The Wooster Group has made more than 30 works for theater, dance, film, and video under the direction of Elizabeth LeCompte. These works include RUMSTICK ROAD (1977), L.S.D. (…JUST THE HIGH POINTS…) (1984), FRANK DELL’S THE TEMPTATION OF ST. ANTONY (1988), BRACE UP! (1991), THE EMPEROR JONES (1993), HOUSE/LIGHTS (1999), TO YOU, THE BIRDIE! (Phèdre) (2002), HAMLET (2007), THERE IS STILL TIME..BROTHER (2007), LA DIDONE (2009), and VIEUX CARRÉ (2011). Historical and contemporary arts exert a strong influence on the Group’s work, and dance, video, music, and architecture are all important organizing principles. Based at The Performing Garage at 33 Wooster Street in lower Manhattan, the company regularly tours worldwide, including North and South America, Europe, Asia, and Australia. The Performing Garage is part
Load more

Recommended publications
  • NAYATT SCHOOL REDUX (Since I Can Remember)
    THE WOOSTER GROUP NAYATT SCHOOL REDUX (Since I Can Remember) DIRECTOR’S NOTE Our work on this piece began when filmmaker Ken Kobland and I set out to make an archival video reconstruction of The Wooster Group’s 1978 piece Nayatt School. Nayatt School featured Spalding Gray’s first experiments with the monologue form and included scenes from T.S. Eliot’s play The Cocktail Party. Nayatt School was the third part of a trilogy of pieces that I directed that were made around Spalding’s autobiography: his family history, his life in the theater, and his mother’s suicide. As Ken and I worked with the Nayatt School materials, we found that the surviving video and audio recordings were too fragmentary, and their original quality too poor, to make a full reconstruction. So I decided to remount Nayatt School with our present company – especially while a few of us, who were there, could still remember. We could at least fill in the gaps for an archival record and, at the same time, demonstrate our process for devising our work. Of course, in reanimating Nayatt School, we have discovered that when it is placed in a new time and context, new possibilities and resonances emerge. I recognize that we are not just making an archival record — we are in the process of making a new piece. That is the work in progress that you are about to see. work-in-progress theatro-film THE PERFORMING GARAGE May 2019 NAYATT SCHOOL REDUX (Since I Can Remember) with Ari Fliakos, Gareth Hobbs, Erin Mullin, Suzzy Roche, Scott Shepherd, Kate Valk, Omar Zubair Composed by the
    [Show full text]
  • Through the Looking-Glass. the Wooster Group's the Emperor Jones
    Revista de Estudios Norteamericanos, nº 17 (2013) Seville, Spain. ISSN 1133-309-X, pp.61-80 THROUGH THE LOOKING-GLASS. THE WOOSTER GROUP’S THE EMPEROR JONES (1993; 2006; 2009): REPRESENTATION AND TRANSGRESSION EMELINE JOUVE Toulouse II University; Champollion University. [email protected] Received April 26th, 2013 Accepted July 18th , 2013 KEYWORDS The Wooster Group; theatrical and social representation; boundaries of illusions; race and gender crossing; spectatorial empowerment. PALABRAS CLAVE The Wooster Group; representación teatral y social; fronteras de las ilusiones; cruzamiento racial y genérico; empoderamiento del espectador ABSTRACT In 1993, the iconoclastic American troupe, The Wooster Group, set out to explore the social issues inherent in O’Neill’s work and to shed light on their mechanisms by employing varying metatheatrical strategies. Starring Kate Valk as a blackfaced Brutus, The Wooster Group’s production transgresses all traditional artistic and social norms—including those of race and gender—in order to heighten the audience’s awareness of the artificiality both of the esthetic experience and of the actual social conventions it mimics. Transgression is closely linked to the notion of emancipation in The Wooster Group’s work. By crossing the boundaries of theatrical illusion, they display their eagerness to take over the playwright’s work in order to make it their own. This process of interpretative emancipation on the part of the troupe appears in its turn to be a source of empowerment for the members of the audience, who, because the distancing effects break the theatrical illusion, are invited to adopt an active writerly part in the creative process and thus to take on the responsibility of interpreting the work for themselves.
    [Show full text]
  • Curriculum Vita
    LENORA CHAMPAGNE 3 Horatio Street, New York, NY 10014 212.924.6577 [email protected]; [email protected] websites: www.lenorachampagne.com; www.purchase.edu EDUCATION Ph.D. in Performance Studies, New York University, 1980 Thesis: "From `Imagination to Power' to the `Hyper-Real': May 1968 and French Theatre" Published as French Theatre Experiment Since 1968, UMI Research Press, l984 M.A. Drama, New York University, l975 B.A. English, Louisiana State University, l972 PROFESSIONAL EXPERIENCE—TEACHING Purchase College, State University of New York Professor and Coordinator of Theatre and Performance (presently) Kempner Distinguished Professor, 2008-2010 Royal and Shirley Durst Chair of Humanities, 2002-2004 Associate Professor, Drama Studies, Fall 2001 to Spring 2008 Assistant Professor, Drama Studies, Fall 1999 to Spring 2001 Member of Theatre and Performance, Dramatic Writing and Gender Studies Boards of Study New York University, Gallatin School for Individualized Study Adjunct Faculty, (Solo Performance Composition to graduate and undergraduate students) since 1980 Thesis and academic advisor for graduate students and for independent studies in performance art. Trinity College, Dept. of Theatre and Dance, Hartford, CT Artist-in-Residence, full-time faculty, l985 - 1989 Directed two productions annually, Main Stage and Black Box TEACHING: SOLO PERFORMANCE WORKSHOPS Trinity/LaMama, Fall 1995-2005 Sanctuary for Families, 1998-1999 (as Public Imaginations affiliated artist, Dance Theatre Workshop) Movement Research, Spring 1991-1993
    [Show full text]
  • Kate Valk and Her Work with the Wooster Group
    KATE VALK AND HER WORK WITH THE WOOSTER GROUP, YESTERDAY AND TODAY THESIS Presented to the Graduate Council of Texas State University‐San Marcos in Partial Fulfillment of the Requirements for the Degree Master of ARTS by Melissa E. Jackson, B.A. San Marcos, Texas May 2009 KATE VALK AND HER WORK WITH THE WOOSTER GROUP, YESTERDAY AND TODAY Committee Members Approved: ______________________________ Debra Charlton, Chair ______________________________ Sandra Mayo ______________________________ Richard Sodders Approved: ____________________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Melissa E. Jackson 2009 ACKNOWLEDGEMENTS I would like to thank Dr. Debra Charlton, Dr. Sandra Mayo, Dr. Richard Sodders, Dr. John Fleming, Texas State University-San Marcos, the Department of Theatre and Dance, and all my family and friends for their contributions to the writing of this thesis. This thesis was submitted on March 27, 2009. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS............................................................................................iv CHAPTER 1. INTRODUCTION...........................................................................................1 2. THE SERVANT ...........................................................................................18 3. THE NARRATOR........................................................................................31 4. THE PHYSICAL PERFORMER...................................................................48 5. CONCLUSION.............................................................................................60
    [Show full text]
  • Liitoja Interviews Wooster Group's Artistic Director Elizabeth Lecompte
    Interview with The Wooster Group's Artistic Director Elizabeth LeCompte The Wooster Group had its origins in The Performance Group, the ground- breaking “environmental” theatre company founded in 1967 by Richard Schechner, the legendary American experimental theatre director. Elizabeth LeCompte joined the company in 1970 and five years later began to create her own work with Spalding Gray, apart from Schechner’s company yet still in its venue, the Performing Garage, located in the SoHo district of New York City. This former factory on, yes, Wooster Street, still serves as their home base where they develop (and often perform) their work. Perhaps one day someone will write a detailed account of the rift that occurred, leading to the departure of Schechner, and the morphing of his company intoThe Wooster Group in 1980, with LeCompte as its Artistic Director. Since its beginning the ensemble has been in a continual state of flux with members involving themselves in other pursuits only to fluidly rejoin. Simultaneous to these comings and goings has been an equally constant artistic evolution that has produced a considerable body of work: nineteen meticulously crafted pieces for theatre along with eight for film/video and five for dance. Note “pieces”, not plays. The Group does not present “plays” - they serve merely as springboards for some of the most complex, fascinating, bewildering and intellectually challenging work ever seen on stage. While not courting controversy they seem unable to avoid it. Acclaimed for brilliant individual performances as well as technological wizardry, Wooster’s unique creations are seen in festivals around the world.
    [Show full text]
  • University of Copenhagen Faculty of Humanities
    Disincarnation Jack Smith and the character as assemblage Tranholm, Mette Risgård Publication date: 2017 Document version Other version Document license: CC BY-NC-ND Citation for published version (APA): Tranholm, M. R. (2017). Disincarnation: Jack Smith and the character as assemblage. Det Humanistiske Fakultet, Københavns Universitet. Download date: 25. Sep. 2021 UNIVERSITY OF COPENHAGEN FACULTY OF HUMANITIES PhD Dissertation Mette Tranholm Disincarnation Jack Smith and the character as assemblage Supervisor: Laura Luise Schultz Submitted on: 26 May 2017 Name of department: Department of Arts and Cultural Studies Author(s): Mette Tranholm Title and subtitle: Disincarnation: Jack Smith and the character as assemblage Topic description: The topic of this dissertation is the American performer, photographer, writer, and filmmaker Jack Smith. The purpose of this dissertation is - through Smith - to reach a more nuanced understading of the concept of character in performance theater. Supervisor: Laura Luise Schultz Submitted on: 26 May 2017 2 Table of contents Acknowledgements.............................................................................................................................................................7 Overall aim and research questions.................................................................................................................................9 Disincarnation in Roy Cohn/Jack Smith........................................................................................................................13
    [Show full text]
  • Elizabeth Lecompte in Rehearsal: an Intern’S Perspective
    Praxis: The Journal For Theatre, Performance Studies, and Criticism 2013 Issue Elizabeth LeCompte in Rehearsal: An Intern’s Perspective By Matthew McMahan The date is August 25th, 2009, and after touring their production of Hamlet in Gdańsk, Poland, the Wooster Group resumed rehearsals for Tennessee Williams’s Vieux Carré. I am an intern, sitting quietly in the back of the Performing Garage surrounded by rafters, metallic totems, trusses, wooden platforms (many on wheels), computer screens, microphones, folding chairs, assorted props and costume pieces strewn about the floor. On several of the LCD screens hung around the set, there is a paused clip from the Andy Warhol produced film Flesh – an image of a tan, muscular, and naked Joe Dallesandro. This image remains on the screens for the entirety of rehearsal, unacknowledged by the denizens of the Garage. When LeCompte finally arrives, carrying a few books and a bottle of Australian Malbec, she greets the crew with three pieces to consider. The first is a film clip from Farewell My Concubine, where a Peking opera actor dazzles the audience with meticulous control of his hands and gestures. While the movie is playing, LeCompte mocks the clip and the actor for his facile, unrefined gestures. Scott Shepherd agrees, noting, “I wasn’t all that impressed with the thing he’s doing with his fingers there. That doesn’t excite me.” It was the performer’s lack of precision they found so deterring. The second piece LeCompte shares is Ben Brantley’s review of JoAnne Akalaitis’s production for Shakespeare in the Park, The Bacchae.
    [Show full text]
  • The RSC & the Wooster Group's Troilus and Cressida
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kingston University Research Repository Multicultural Shakespeare: Translation, Appropriation and Performance vol. 11 (26), 2014; DOI: 10.2478/mstap-2014-0006 ∗ Aneta Mancewicz Looking Back at the Audience: The RSC & The Wooster Group’s Troilus and Cressida (2012) Abstract: The controversy around the RSC & The Wooster Group’s Troilus and Cressida (Stratford-upon-Avon 2012) among the spectators and critics in Britain revealed significant differences between the UK and the US patterns of staging, spectating, and reviewing Shakespeare. The production has also exposed the gap between mainstream and avant-garde performance practices in terms of artists’ assumptions and audiences’ expectations. Reviews and blog entries written by scholars, critics, practitioners, and anonymous theatre goers were particularly disapproving of The Wooster Group’s experimentation with language, non-psychological acting, the appropriation of Native American customs, and the overall approach to the play and the very process of stage production. These points of criticism have suggested a clear perception of a successful Shakespeare production in the mainstream British theatre: a staging that approaches the text as an autonomous universe guided by realistic rules, psychological principles, and immediate political concerns. If we assume, however, that Troilus and Cressida as a play relies on the dramaturgy of cultural differences and that it consciously reflects on the notion of spectatorship, the production’s transgression of mainstream patterns of staging and spectating brings it surprisingly close to the Shakespearean source. Keywords: William Shakespeare, audience, spectating, British theatre, American theatre, avant-garde, RSC, The Wooster Group.
    [Show full text]
  • Wooster Baroque
    Wooster Baroque Branislav Jakovljevic Introduction Urb... The death of theatre, which in the West has been lamented at least since Aristotle, does not come with the passing of great tragic poets, or with religious persecution, or with the advent of new technologies. It comes with the death of death. Or, more precisely, with the death of the dead; that is to say, with the evacuation of the material presence of death from our every- day experience. Theatre not only dies for wont of a living, working, paying audience, but also because it is deprived of the population of the dead, of corpses imperceptibly decomposing under the audience’s feet while the spectacle unfolds in front of their eyes. Such is the stunning proposition that Jean Genet makes in his text “That Strange Word...” The strange word he points to is “urbanism.” It is strange, he claims, because it simultaneously refers to the city, urbs, and to those guardians of the First City who bore the name of Urban. It is urbanists, not religious leaders, who can bring about the extinction of theatre or restore it to its full glory. They can do that, Genet proposes, by placing theatres in close proximity to cemeteries or, at the very least, to crematoria. Theatre needs actual corpses placed before it, TDR: The Drama Review 54:3 (T207) Fall 2010. ©2010 New York University and the Massachusetts Institute of Technology 87 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00006 by guest on 26 September 2021 not the discursive traces of the dead.
    [Show full text]
  • Jay Scheib Mixing Multimedia with Deadpan-Cool (And Very Sexy) Actors, Scheib Is Forging New Ways of Seeing Drama
    The best New York theater directors - Time Out New York Time Out New York Kids Time Out Chicago Time Out Worldwide Travel Book store Subscribe to Time Out New York Subscriber Services Home Art Books Clubs Comedy Dance Film Games Gay I, New York Kids Museums Music Opera & Classical Own This City Real Estate Restaurants & Bars Sex & Dating Shopping Spas & Sport Theater Travel TV Video Tools Theater E-mail Time Out New York / Mar 25, 2009 Print New York's best Rate & comment Report an error The best New York theater directors Share this 1. Jay Scheib Mixing multimedia with deadpan-cool (and very sexy) actors, Scheib is forging new ways of seeing drama. 2. Ken Rus Schmoll Schmoll takes on more difficult playwrights, teasing out the ambiguity and menace in their words. 3. Elizabeth LeCompte As chief engineer of the Wooster Group’s postmodern tech spectacles, she has influenced a generation of experimenters. 4. Anne Kauffman She helmed two of our favorite shows in years: The Thugs and God’s Ear. Sensitive to thorny language, she makes the murky crystal clear. Cheap tickets 5. Joe Mantello Seats for a song Sure, he helmed the blockbuster Wicked, but the former actor is most at home Find great deals on working on tough drama on an intimate level. tickets. 6. Richard Foreman Guides They don’t call him the king of the avant-garde for nothing; Foreman is the auteur’s Student Guide auteur: He writes, designs, directs and even operates the sound. Practical (and frivolous) 7. Robert Woodruff advice for the scholarly.
    [Show full text]
  • The Wooster Group Relives 30 Years of Controversial Exploit5--{)N and Off Stage
    The Obse5slve guide to ·impulsive.entertainmelrt Jan-.ary 27-february 2, 2005 luu& No.. 487 $2.99 liDwm®ru ~~wYorRf Jan 27-Feb 2, 2005 lssue 487 Features :12 "It was familial , incestuous, dysfunctional" Experimental-theater company the Wooster Group relives 30 years of controversial exploit5--{)n and off stage. 20 "Christo and Jeanne­ Claude had this dream .. " Documentarian Albert Maysles has spent 26 years chronicling mega-installation The Gates. 24 "The comparison to Coldplay is misleading" Piano-driven Brit outfit Keane has perfected the art of the pop anthem. SeNice & Style Eat Out 27 Peek performance Open kitchens are like reality TV: Sometimes there's way more dirt than you ever wanted to see. Also this week in ... 30 Just opened Stan's Pl ace in Brooklyn Around Town Beauty and does Cajun its own way. squalor: Literary workshops Check Out celebrate the Bowery's past Art 35 Tress management A crop of new hair Rubens's dazzling draftsmanship products rescue our winter-worn manes. is revealed in a show at the 39 Critics' pick Graffiti-inspired stencils Met Books Better living through take street a:t indoors. chemistry: John Fall~ tells how war and Zoloft changed his Cl1ifl Out life Comedy Nightlife Awards ' 40 Health report Five health-food stores picks for best st and-up give a tum up, well, l)ugs and stuff. sneak peek of their ceremony 42 Just opened Fitness gets swi nging shtick Television BBC America with the Soho Dance Studio. brings two U.K. pol ice series to stateside viewers Departments 2 Letters 4 OutThere Shopping-cart showdown ...eavesdropper's o:ore ......
    [Show full text]
  • Selected Press Jay Scheib
    Selected Press Jay Scheib Feature Articles, Reviews, and General Press Jay Scheib | [email protected] | Selected Feature Articles and Reviews The best New York theater directors - Time Out New York Time Out New York Kids Time Out Chicago Time Out Worldwide Travel Book store Subscribe to Time Out New York Subscriber Services Home Art Books Clubs Comedy Dance Film Games Gay I, New York Kids Museums Music Opera & Classical Own This City Real Estate Restaurants & Bars Sex & Dating Shopping Spas & Sport Theater Travel TV Video Tools Theater E-mail Time Out New York / Mar 25, 2009 Print New York's best Rate & comment Report an error The best New York theater directors Share this 1. Jay Scheib Mixing multimedia with deadpan-cool (and very sexy) actors, Scheib is forging new ways of seeing drama. 2. Ken Rus Schmoll Schmoll takes on more difficult playwrights, teasing out the ambiguity and menace in their words. 3. Elizabeth LeCompte As chief engineer of the Wooster Group’s postmodern tech spectacles, she has influenced a generation of experimenters. 4. Anne Kauffman She helmed two of our favorite shows in years: The Thugs and God’s Ear. Sensitive to thorny language, she makes the murky crystal clear. Cheap tickets 5. Joe Mantello Seats for a song Sure, he helmed the blockbuster Wicked, but the former actor is most at home Find great deals on working on tough drama on an intimate level. tickets. 6. Richard Foreman Guides They don’t call him the king of the avant-garde for nothing; Foreman is the auteur’s Student Guide auteur: He writes, designs, directs and even operates the sound.
    [Show full text]