Anybody who has an infowars bumper sticker can't be all bad.
Cool perspective, but misleading. You guy's missed mentioning the awesome creations on display. Did you bother to check out master builders Jason Burik, Jonathan Lopes huge LEGO displays or the large selection of LEGO Bionicle creations? Personally, my kids who are 8 and 10 were mesmerized by all the creations and loved the Challenge Zone, building zone and architecture area - those areas should have been mentioned. I saw a lot of people of all ages building, learning, and just having a great time!
I m sitting here watching rush hour 3 and I can't stop laughing. Man I miss you so much Mr.Tucker. You are truly one of a kind. Hurry back to the screen. Missing your face.... Ms. Reality
I found it an excellent production and enjoyed what Mr Quaintance brought to the table, including the quirky strobe and slo-mo gestures that evoked the McCarthy hearings, and the unexpected hurling of polluted water in the faces of the Stockmans. But like you I suddenly realized that the play has the shape of tragedy after all--that the hero for all his greatness is terminally arrogant and goes far to bring on his own fall. I suppose the problem is endemic to all whistleblowers. What shall history do with Snowden?
I remember when SAJ had her Tree Planting exhibit at the John Hope Franklin Center years ago. The most amazing work and the first time I ever out a piece on layaway until I could own one for myself! Still my favorite piece of art ever!
With all due respect, theatrefan, every ticket buyer to this production spends time and gets to know Mr. Torres (or Patrick, as you call him), over several hours -- through experiencing the quality of the work he and his company are able to bring to stage.
For the overwhelming majority of theater-goers, that's the only reasonable expectation. Ultimately, an artist meets the public through their work.
Those of us that have spent time with Patrick and gotten to know him have no questions about what he is bringing to RLT
If you like beat-boxing, watch this street performance i saw yesterday in London, UK: www.youtube.com/watch?v=6ISu98pMCas
This is some of the best writing I have seen on SAJ's work, and I should know- I have been her dealer for over ten years. Bravo on the great show and beautiful review. ps don't forget to see the amazing catalog/ monograph for the show.
Chaunesti Webb stole my work. She stole my story, my words, and admitted as such. She received grants and awards for my work. She crowdfunded my work, and received over $5,000 for that, alone. She traveled the play based upon my story for years. Any of you who writes, or makes any creative work, can probably understand my position. This woman had never claimed to write anything- before or since. Yet, she can apparently read, and comprehend spoken English. I believe she was able to decipher the countless Cease and Desist demands told to her, letters sent to her via email, USPS, and from different attorneys.
Man Bites Dog Theater revealed their position, by elevating this thief to their Board of Directors. They also proudly claim the output from their 'help' made the play as "good' as it has been described by the editors of Indyweek, who awarded her a best new playwright accolade.
Instead of claiming this is any form of the vile televised reality shows, featuring "black" women behaving badly; you should all wonder: what should be the punishment of this woman and her co-conspirators, Man Bites Dog Theater? Many of the things they have done are punishable under North Carolina law.
Further, I would never wish this situation upon my worst enemy. This has been an extremely painful and extraordinarily costly event for me. She had mounted the play, months before she made any contact with me. She thanked, according to Byron Woods, the theater critic of Indyweek, over 160 people in the playbill of the play. None of the 'thanked' were the other two women she stole sentences from; and my name was absent, despite the paragraphs and sentences she stole from me. Instead of placing any blame upon me; take a moment to consider why she and her co-conspirators should be free to steal?
I wish she had stolen my car, or burgled my home, instead. Wait! She did! She broke into a book, selectively stole what she wanted, including way too much of my essay, from a book that was partially named after my essay. Is ignoring this ongoing travesty a way to respond? #blacklivesmatter
So does their work.
I agree, it's great to see actors of the correct age in the leads. But I liked the innovative and imaginative fight choreography.
I really enjoyed Brian Howe's review of this important Miro show at the Nasher Museum. He offers us a wide range of impressions, many both art-historical and natural, all well relating to the singular Miro image worlds
we see, usually floating in the paintings, and playing in the sculpture.
He's writing here more as a poet; sharing impressions and impulses, rather than using the artist's history and possible meanings and object relations, as "exhibit labels" often do. I often skip the information on the "exhibit label" as it tends to drag the wonder of a work down, or save it for a quick reality check afterward.
I appreciate that Mr. Howe's words have simple let the Miro works just be themselves, and offer their joyous questions. After all, Miro is one of the premier artists of the “distant” of life, with uncertain forms and possible meanings. Only these things, these lives, whatever they are… they are precise. Their situation is not understood. (As in life, we know ourselves, but are not sure of our surroundings.)
Miro’s art, in simply being (be here now), regardless of what we think - keeps it art that seems to be in the process of becoming, as we all experience. It's very living art. And in its seeming motion, color and scale, it remains young and joyful art. An art of play, and the dance of life.
Dennis in Hillsborough
Living in Durham and teaching at Duke has been incredible. I have had amazing support and encouragement from my colleagues, the Duke Theater Studies Department, SteetSigns, Duke Performances, Manbites Dog, the greater Durham arts community and so many others. Leaving was one of the most difficult decisions I have had to make, and this difficulty came from knowing that I was losing an incredibly supportive community that believed in my work and encouraged me to grow and make. I am so very grateful.
Hey, thanks for the shout out for Wink of an Eye! The article was pretty cool, too :)
StreetSigns has the deepest respect for Torry Bend and we turned ourselves inside out to produce her latest work, IF MY FEET HAVE LOST THE GROUND. We could not be more delighted that her groundbreaking work is recognized as among the best of 2014. Torry is the creator and director of the piece but it was produced by StreetSigns. We've been producing theatre for decades. And hope to continue for decades to come.
Thanks for this incisive piece. Nathaniel Mackey has more to say then any one poet since he embraces all worlds.
StreetSigns is still kicking. We did produce Torry Bend's "If My Feet Have Lost the Ground" at ManBites. And will be producing Freight in January and "Trojan Barbie" in April at Swain Hall at UNC.
I had questions about this as well. In my research before writing, I found the catalog webpage for the play from Dramatic Publishing, which licenses the performance rights for the work and sells its scripts. The listing includes this notice: "Black Nativity is designed for you to add the music of your choice (from spirituals to traditional carols or your original compositions) and dance." As I understand, there's a very robust tradition of companies doing that with this work.
Thanks for writing.
how can the "magical numbers ..been freely modified, with the creator's blessing,
from the original 1961 version," since Hughes is deceased, UNLESS he, in his will,
said 'do what you want with it' or something like that. Howard M. Romaine
Thanks, Chris. This is a splendid tribute to Nate.
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