THEATER COMMENTARY | Viewing Jane Bowles and her “In the Summer House” through the prism of Tennessee Williams

You’ve likely not heard of Jane Bowles, but she wrote a cock-eyed, mesmerizing play that was one of the signal achievements of postwar American drama. It’s right up there with the classic works of Arthur Miller, Tennessee Williams, Gertrude Stein, late Eugene O’Neill, Lillian Hellman, and Sam Shepard. This post is about Jane Bowles’s unjustly neglected play: “In the Summer House.” Read More

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RECOMMENDATION | See film screening of American version of German “Trust” at Goethe Institut-Washington

WASHINGTON, D.C. |  Tonight, July 8, a young D.C. troupe will screen a film that documents that making of its new dance/theatre project Trust by the German writer/director Falk Richter. The courageous company force/collision has been in search of a dance vocabulary that suits Richter’s virulently comic attack on consumer capitalism. I saw an early work-in-progress performance… Read More

ON FOREIGN-FILM DIPLOMACY | Why this year’s Golden Globe Awards are so Eurocentric

Have you noticed that the French and the Scandinavians dominate this year’s Golden Globe nominees for best foreign language films? To a disproportionate degree. So what exactly happened that only the French and the Scandinavians grabbed most of the Golden Globes booty? Are the best of the best among this year’s foreign language films really so Eurocentric? Read More

Performance review | Is “Pâquerette” penetrating, or merely a dance with penetrating elements?

Pâquerette is a duet between a man and a woman who re-discover their childlike innocence through the intensities of penetration. Read More

Not a performance review | French choreographer David Wampach spoofs John Waters film, dances with shaving foam

“Auto + Batterie” matches up two enticing signature works, in which French choreographer David Wampach conspicuously foregrounds the theatrical relationship between dance and music. Read More

Performance review (NSFW) | Italy’s Ricci/Forte serves up queer fantasia in “Macadamia Nut Brittle”

Macadamia Nut Brittle is excoriating, sexy, hallucinatory, viciously funny. The plot steals from the mode of a reality-TV show, but its stance is subversive and punk. As the noisy evening unfolds, Ricci/Forte detonates, again and again and again, the illusory logic of this TV genre Read More

Performance review | Seeing the Romanian Cultural Institute’s “Window” through Alice’s looking glass

The Window is a unique theatrical experience, because enigma is a principal aspect of its charms. An inspiring two-part site-specific performance-design project created and directed by Ana Mărgineanu for the Romanian Cultural Institute in New York (RCINY), The Window asks you to pay close attention if you happen to stroll by RCINY’s storefront spaces. Read More

Performance review: Watch a storefront story from a New York sidewalk in this Romanian-American collaboration

“The Window” succeeds in its creative transformation of an otherwise nondescript building space that is normally used as a bookstore, a reception area or a meeting place. If you did know that there is a Romanian consulate and cultural services in that corner of the neighborhood, you definitely will remember that piece of information the next time you pass by. Read More

Transvestite cabaret blossoms in “Gardenia,” a dance-theater work from Belgium

MONCLAIR, N.J.: Think of it as a Follies for the third gender. Or La Cage aux Folles as re-dressed by Pina Bausch. A dance-theater piece from Belgium, Gardenia conjures the closing night of a transvestite cabaret in Barcelonia where seven middle-aged men (between 55 and 65 years old) recall their double lives as cross-dressing movie stars and as… Read More