by Thomas May
Thomas May reviews The Evening at Memeteria:
...Although Maxwell has been engaged by On the Boards before (Drummer Wanted 12 years ago, back when Lane Czaplinski took over as artistic director), last night’s Seattle premiere was my first encounter with his work.
And it’s a signature of Maxwell’s theater that it sends you out into the night with the feeling that you’ve just recalled an interesting dream and now have the work of trying to figure out why it interested you and whether it’s trying to “tell” you something — or just happens to be an arresting collage of images that just won’t stop flickering in your mind.
The Evening involves a cast of three characters interacting in a depressing dive bar. Beatrice (Cammisa Buerhaus) tends bar and manages the sexual advances of the hedonist Cosmo (Jim...
by Kristen Kosmas
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. because of missing people, and because of missing people. because i speak my heart, because i'm not gonna lie, because i like this place. because beer beer beer jello jello. because we too need someone to show us how to fight to the death. think you can show us how to fight to the death? because we too converge backwards. because of oases of dark shaded green and because it is possible to disappear quietly into the bottom of the other side. and because it is possible to breathe in unison. and to whisper. and to climb on the table. and sing.
by Taylor Westerlund
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. Luckily, for us, the character's in The Evening do not have the "letting go" thing down. In order to continue with the trend...this response will not follow the traditional format of "reviewing a play", instead, here is a list of thoughts that followed me home tonight:
"Unwritten without form".
"Look at you. You used to be in such great shape. Now you just get high and eat pizza."
Reflections of ourselves.
Pristine, Snow-capped, Lonely Mountaintops.
Just barely missing the connection.
Death, and Rebirth.
Whether you're fighting, surviving, or...
by Leah Erickson Webster
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. The lights come up on a simple set- with just enough to signify a crappy windowless bar. Bare bulbs, easily sanitizable plastic chairs, upside down glasses on a counter, and a woman, seated at a plastic table. When she begins to speak, it seems as though she is reading, but as she flips her papers it becomes clear that they are blank. She delivers the first 10 or so minutes of the play to us without so much as shifting her chair. Between each musing, she takes a moment to look up at the audience. These moments were as frustrating as they were exciting, as we seemed to collectively agree that at any moment the style would shift.
by Joe Ngo
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?
There is likely an apt French expression much like “déjà vu” or “l'esprit de l'escalier” that would help to describe the mixture of emotion and questions that were evoked as I sat in on a performance of The Evening last night. I might use the word “Familiar” to describe the feeling, but the word itself lacks a sense of exploration and mystery, as I became unsure of what to think and how to think it as I watched this production unfold.
Richard Maxwell knows exactly what he is doing; If his goal was to make me question the confines of my personal reality, reasoning, and all else, he was successful.
As a theatre maker, I’ll boldly go so far to say that I understand the use of tropes, archetypes and the homage to Pirandello’s “Six Characters…” that are employed in this piece....
Betsey reads Richard Maxwell's Theater For Beginnners to a clearly mesmerized OtB staff. Get your own copy and find out what the fuss is all about. Copies of this book and some of Maxwell's other work will be available for purchase in the lobby over the performance weekend. Bonus: see the show on Friday and have your book signed by Maxwell after the post-show Q&A.
Can't make the performance? Don't worry - scripts, DVDs, t-shirts and more are available at the New York City Players' website.
Naomi Skwarna interviews Richard Maxwell at Hazlitt:
Did acting lack something for you?
I liked acting, but I felt limited creatively by what I could contribute. I’m a saboteur by nature. When I see something established, I have a really mischievous impulse to undermine it. Specifically, I remember working on a show at Steppenwolf Theater as an artistic intern. At the time, I was in a high school outreach show, Romeo and Juliet, playing a bunch of different small parts. One of the parts was a servant, where I’d come out and say what ho and you know, how doth the queen or something like that. They’d had a party the night before at the theatre that was totally unrelated to the show, and there are all these helium...
A project by OtB Ambassador James Holt.
Join us in the OtB lobby post-show Saturday, Feb 21 and enjoy live music by the performers from Richard Maxwell's The Evening.
BUY TICKETS to The Evening.
Read more about the Ambassador Project.