Erin Jorgensen | Concert Four Feb 25, 2015
CLYTIGATION #2 | Mar 6, 2015 | PERFORMANCES BETWEEN 3 - 5PM | ONLINE APPLICATION AVAILABLE BY 5PM FRI, FEB 27
On November 24, 2014, Michelle Ellsworth performed Clytigation #1 at Seattle's Mediterranean Hotel with dancer Zoe Scofleld. The work explored corn based hotel accoutrements, surveillance, and ancient community bathroom rituals. Below are some documentary images.
In The Evening, writer/director Richard Maxwell uses three actors, three musicians, and On the Boards' vast mainstage for a 50-minute exploration of familiar shapes and predictable patterns and what it feels like to break free.&nbs
The Evening by Richard Maxwell | New York City Players brings to life a world of archetypes, mere shapes, like the signs that depict men and women’s bathrooms. A world lackluster of adornment, stripped of the acting shtick.
About ten years ago, I saw one of Richard Maxwell’s plays at PS122 in New York. On the sidewalk after the show, I remember my inscrutable playwriting professor proclaiming that Maxwell was the “East Village David Mamet.” As a fan of Maxwell’s work, I was defensive and dismissed the observation as downtown, back-handed snark.
Overall, I think The Evening was a step in interesting directions for performance, but didn't fully make it.
The weight of the room is palpable when Beatrice begins telling a story that is clearly not her own.
Thomas May reviews The Evening at Memeteria:
i wish i could have seen it with you. and you and you. i'm glad i saw it with you, and also i wish i could have seen it with you. because bonfire, because bird events, because island, because istanbul. because of the thing you can't prepare for that isn't going to happen, and because we too should celebrate something from a year ago.
Letting go. Richard Maxwell has mastered the art of letting go. Of the preconceptions of what theater must be. Of what a script must look like. And of "how to" format a play. No wonder the New York City Players are doing so well on the other side of the States.
An audience gathered to see Richard Maxwell's The Evening at On the Boards last night, made up of what seemed like mostly artists- people who kept greeting each other, surprised to be at the same show on the same night. Signs were posted at the entrance which warned of the use of a smog machine, and an unloaded gun.
What could I possibly say about Richard Maxwell’s “The Evening” that Mr. Maxwell, and others on this blog, haven’t already stated in much more eloquent terms?
Naomi Skwarna interviews Richard Maxwell at Hazlitt:
A project by OtB Ambassador James Holt.
Educate yourself: go in-depth with Maxwell's aesthetic with this paper from Theron Schmidt at academia.edu:
Thomas May talks contemporary music, the evolution of Bang on a Can, and the trend of modern music being performed in Seattle:
The New Yorker Magazine profiled Richard Maxwell in 2014, before the premiere of "Isolde" at the Abrons Art Center:
I came to Last Night a DJ Gave Me Life: DJ as Revolutionary, Dance as a Tool of Liberation #DanceIn #Ferguson bringing my identities a dancer, a blues dance DJ, and one who believes in liberation through embodiment.
I had hopes of transformation —
"Cotton" is an ongoing multi-media performance conceived and performed by artist and HOWDOYOUSAYYAMINAFRICAN? member Monstah Black. In the words of the artist:
Of the calling
and the blessed.
I went to see Cineastas because I wanted to get away from the Superbowl. It sounded like the opposite of a Superbowl party. A foreign performance about the creative process presented in a theater known for showing experimental performance art.
To what extent does art influence real life, and real life influence art? This is the question the audience consider during Cineastas, On the Board’s most recent installment.
Standing on a typically cobbled San Telmo street corner in Buenos Aires, I unintentionally stumble upon Bar Sur, the milonga eternalized on screen to quite ambient effect by the presence of a careening Ho Po-Wing (Leslie Cheung) in Wong Kar-Wai’s Happy Together.