Lecture performance, 110 minutes with intermission. This lecture performance began with what I considered good journalism. In December 2015, American Theatre magazine hired me to write an article on the Goodman Theater’s adaptation of Roberto Bolaño’s novel 2666. Robert Falls, who’d steered the project to fruition, told me a remarkable story about how it all
No rest for the weary, they say. It feels like only a couple weeks back that we were closing our revival of They Are Gone But Here Must I Remain at Under the Radar (according American Theatre, we’re an “always intriguing company continues to create unexpected, challenging work that approaches story and ideas from multiple
Under the Radar and PS122’s COIL Festival have announced their line-ups for the 2016 festival season, and they come with pleasant surprises. First of all, I can’t help but plug the work I am myself involved in: Sister Sylvester is reprising They Are Gone But Here I Must I Remain as part of UTR’s Incoming!
Our latest from Sister Sylvester is halfway through its run, and so we want to make sure you know about it. It’s strange even for us: A highly intimate (no more than 10 people per night) performance called What’s Yours Is Mine (On a Beach At Night Alone). It starts with a story that may
It was, if I recall correctly, sometime back around March 2013 that I had a late dinner with Zoe Scofield in the East Village where she proposed I do a project with her. We had no money and no practical way to do it at the time, but Scofield liked whatever it was I meant
To get an idea of where I‘ve been with this, you check out this narrative more or less covering (actually, dancing around) my project with Zoe Scofield and Juniper Shuey. In 2013. Not the 2012 part, not the 2014 part. Just 2013. This is the morass I’m working way through right now–hours of interviews, hundreds
“Engaging and frustrating, imaginative and jumbled, original and derivative” –Alexis Soloski, The New York Times “The refreshing result (half-documentary, half-Genet) is chaotic, but it’s also productive and genuinely subversive; Hamilton gives us the kind of mess you learn from making.” –Helen Shaw, TimeOut New York “[A] dramatic seed blossoms late in the production when the
Sister Sylvester’s The Maids’ The Maids Opens Oct. 31 A note from the dramaturg: I was just re-watching a video we shot in early summer during the first rehearsals we did for The Maids’ The Maids, (opening Oct. 31 at Abrons Arts Center; tickets $20). It was unpleasantly hot that day, and I’m wearing multiple