"Art is not a mirror held up to reality, but a hammer with which to shape it" – Bertolt Brecht
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Two naked specimens in a cage. Visitors come and go, fascinated by them, arguing and wondering about these creatures.
Eugene Ionesco’s brilliant absurdist farce unfolds in a universe dislodged from logic and even common sense.
Orestes faces trial for killing his mother, Clytemnestra. Helen of Troy, the Kato Kaelin of the pageant, shows up in swimwear and platform sandals, while Electra anxiously twirls en pointe. Apollo hosts this media circus like a Valley dude in boardshorts, but he can’t match the mojo of Menelaus, who delivers a rockin’ cover of the Bo Diddley salvo “I’m a Man.”
“Filthy Talk” takes a poke at the art world and its often decorative pretensions, and the world of male/female relations it presents is “Men are From Mars, Women are from Venus” on steroids—mega steroids.
…A series of fragmented exchanges that often take the form of inchoate expressions of rage twinned with frustrated awareness of a lack of control.
In this wicked piece of satire on fidelity and honor, two couples mistakenly believe they have betrayed each other. The more they argue, scheme, plot, and attempt to revenge themselves, the more deeply they get entangled in their own delusions.
A profoundly despondent fellow wanders into an amusement park for distraction from his agony. Inside, he slips into a fantasia of scenes – including his own romance with a young woman from the Midwest, igniting a bundle of neuroses that keeps them estranged…
A profoundly despondent fellow wanders into an amusement park for distraction from his agony. Inside, he slips into a fantasia of scenes – including his own romance with a young woman from the Midwest, igniting a bundle of neuroses that keeps them estranged…
The second in Beaumarchais’ trilogy of Figaro plays – between “The Barber of Seville” and “The Guilty Mother” – “Marriage” savages class inequities (Louis XVI understandably banned it). Echoing Mozart librettist Lorenzo da Ponte, director Michel and designer Duncombe knowingly use the lunatic convolutions of farce to strike more profound cultural targets.
A high level of invention suffuses “The Trojan Women” at City Garage. Deconstructing Euripides’ classic tragedy into a multifarious current-day collage, adaptor-designer Charles Duncombe and director Frederíque Michel pull few punches in the wake of burning Illium.