600 HIGHWAYMEN and Employee of the Year in The New Yorker Apr 25, 2016

by Erin

The New Yorker's Hilton Als on 600 HIGHWAYMEN and Employee of the Year:

Just when you think you might be getting a little cynical about the theatre—all those stars in so many vanity productions—think about 600 Highwaymen. Founded in Brooklyn, in 2009, by the vibrant and open young theatre artists Michael Silverstone and Abigail Browde, the company produced, in the dull summer of 2013, one of the more exciting things I’d seen that year: “This Great Country,” their reimagining of Arthur Miller’s “Death of a Salesman.” The piece featured seventeen performers, some of whom had professional experience, and some of whom did not. (I was particularly struck by the Texas-based adolescent Ashley Kaye Johnson; her sense of space, timing, and theatricality reminded me of a very young Gwen Verdon.) Using silence and choreographed movement to underscore lines that were spoken directly to the...

Comments () Read More

Learn more about 600 Highwaymen Apr 22, 2016

by Erin



Learn more about Brooklyn-based artists 600 HIGHWAYMEN, read reviews, see videos, follows, stay up-to-date with new projects and more at their website. 



Comments () Read More

Read an Employee of the Year Review in the New York Times Apr 20, 2016

by Erin

The New York Times' Charles Isherwood reviews Employee of the Year:

“I’m 45.”

“I’m 54.”

“I’m 62 now.”

“I’m 71.”

The years of a woman’s life flit by like leaves blown in a stiff breeze in “Employee of the Year,” an original and affecting theater work from the inventive company 600 Highwaymen that has made its New York premiere as part of the Crossing the Line Festival, at Gould Hall. (The two-performance run ended on Thursday night.) What’s most striking about this simple but fresh-feeling piece is less the content than the form in...

Comments () Read More

600 HIGHWAYMEN Interview at Bomb Magazine Apr 18, 2016

by Erin


photo courtesy of the Wexner Center

Ben Gansky talks with 600 HIGHWAYMEN co-artistic directors Abigail Browde & Michael Silverstone at BOMB Magazine:

Ben Gansky: Let’s start with why. Why make shows?

Michael Silverstone: I make shows to get closer to who I am, and to get closer to other people, especially those who are not like me. Making theater is a way for me to have conversations with myself and with other people. It's the way I stay active. Also, I’m interested in staring. Things happen when you look at something or someone for a long time—like empathy, or compassion, or even just clarity, seeing the surface and...

Comments () Read More

600 HIGHWAYMEN | TEST PERFORMANCES Apr 11, 2016

by Erin


#1 | Wed | Apr 13 | 7-8pm
#2 | Sun | Apr 17 | 5-6pm
#3 | Sat | Apr 23 | 5pm

NYC-based artists 600 HIGHWAYMEN are currently in residency at OtB building The Fever, a brand-new show drawing inspiration from the infamous Rite of Spring first performances. This new work looks at people inside different systems of organization - how we act in groups and how we act alone. The company is creating the work with the help of Seattle community members. You are invited to be a part of the integral process of...



Comments () Read More

Performance Review: NOWNOWNOW Mar 31, 2016

by Ben Rapson

I do Facebook for a living. Day in, day out, I am almost always plugged into Facebook, Twitter, Instagram, Yelp, YouTube, Pinterest, LinkedIn, and more. To say I’m a nerd for the sociology and psychology of social media would be an understatement. So I found NOWNOWNOW to be a fascinating piece of introspection and commentary. In fact, now that I mention it, introspection and commentary are not only the two narrative devices that Sarah Rudinoff uses in her piece. They’re also the two primary themes she uses to playfully skewer our culture’s use of social media.

She vacillates to hilarious effect between criticism of herself and criticism of the general masses who are so hooked on Facebook. She’s got a lot to say about self-consciousness, self-image, procrastination, instant gratification, and judging others. And for every bone she seems to pick with society at large, she takes herself to task in the same way. Her desperation in finding the...

Comments () Read More

Have We Met in Real Life? My Date With a Stranger for Sarah Rudinoff's NowNowNow Mar 31, 2016

by Tessa Hulls

When Sarah Rudinoff found herself at the funeral of an acquaintance whom she mostly knew through the internet, she realized she had made a mistake. She had cast sweeping judgments about this person based on their online persona and dismissed them as someone who was not worth the effort of truly getting to know. But as she listened to the eulogies given by their close friends, by the love overflowing from their words, Rudinoff was forced to confront the fact that she had given nothing to someone who had deserved a great deal more.

But in this age of social media, this ceaseless barrage of information about other people's lives, is it really possible to do better? In the scenario of this deceased acquaintance, Rudinoff poses this question, asking, “But what am I going to do? Connect with every single person?” NowNowNow is a solo show that takes a gut-punching look at how social media and technology have altered the relationships we hold with ourselves and with others. ...

Comments () Read More

Creating a Sense of Legitimacy - Sarah Rudinoff in The Stranger Mar 28, 2016

by Erin


photo by Truman Buffet

 "...The Self-Portrait is now the selfie. The Landscape is now the self-congratulatory summit pic. The bowl of fruit is the pricey brunch pic. The power of making a painting of an iPhone selfie lies in the pathos of an older form of self-expression seeking legitimacy (by way of relevance) from a younger form of self-expression, and at the same time showing how much more skill and thought and compassion it takes to paint a picture than to feel a *feeling* and snap a corresponding selfie. It's the sadness of radio interviewing the video star.

This artistic quandary points to an existential one: How does a self find a sense of legitimacy in a world where social media has—by simultaneously inflating and democratizing the ego—so diminished the self?

Instead of painting,...

Comments () Read More

Tags