Why didn't something like this didn't exist already?
I think we've reached a true moment of ripening. There are so many performing artists here now that something simply had to happen. I also think that most artists are so fully focused on their own work, that they wouldn't have time and energy to build something like a festival. The attraction for me was to be creative in both a community-building and business way within the performing arts community. BEAT was the perfect project for me.
It's hellblaze, it's hailfire, it's End Times in a woodshire.
It's beast-fest, it's creature talk, it's peril-loom with Wolf astalk.
And it's winds and rains, and hymns and flames, and sylvan news among cauldrons and stews unto potions and motions of Apocalypse brew.
And it's so cleverly timely, and so gravely eternal. It's The Storm: An Apocalyptic Folk Operetta, written by Stuart Cameron, executed by Saints of an Unnamed Country and staged, for two more nights, at Secret Project Robot.
But a new deal will allow the theater to move in after all, the Brooklyn Paper reports.
BAM "has been [Pina's] exclusive US home since 1986," the publicist handling the show told us. "We were always planning to present it; it has nothing to do with the film, although obviously it was amazing to see an iconic BAM artist get worldwide recognition and meant a huge deal to all of us who have worked with Tanztheater Wuppertal, many for 30 years."
I'm not quite sure who these folks are, but they're called Saints of an Unnamed Country. I'm not quite sure what they do in general, but I do rather like their name. And although I've been familiar with the goings-on at Secret Project Robot for years, I'm not quite sure how I received a certain email from them today, for I know that I've never requested them.
But I am happy I got this one. Because a forthcoming show, billed very fetchingly as The Storm: An Apocalyptic Folk Operetta, by Cameron Stuart, has me rather eager to see its New York debut in early June.
Pinter wrote The Caretaker (in revival through June 17) in 1960, when kitchen sink drama was king of the English stage. In keeping with the period, it is set in a grimy bedroom in a rundown townhouse. The first of the stage lights illuminate Mick (Alex Hassell), with his back to the audience, striking a truculent James Dean pose. But the angry young man, the prototypical protagonist of the era, ducks out the room before Aston and Davies enter, a fool and a tramp respectively, characters emerging from Beckett’s coat pocket.
This just convinces me even further how repellent BDSM is. You must be mentally ill…
elvis costello perfomance link (the published one here is not working) http://videos.mediaite.com/video/Elvis-Costello-Radio-Radio-1977
I need a sweet baby