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The Cassandra Syndrome

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Cry, Trojans!, The Wooster Group, Directed by Elizabeth LeCompte, REDCAT,  February 27 - March 9, 2014 — The first responses to The Wooster Group’s Cry, Trojans!  I heard were strong, but then opinion began to curdle, finally setting into an unpleasant gel seeded with the landmines of identity politics. Arriving at REDCAT I was not sure what to expect - all the way back to LSD – Just the High Points in the late 1980s, I've enjoyed Wooster productions, but I typically don’t take issue when someone doesn't respond to the challenges of their work. Taking my seat in bleachers flanking the stage, I got a close up view of Scott Shepard, Ari Fliakos, Kate Valk and the other Woosters fully embodying their gestures and ... [Read more]

A Sign of Life from the Post-Dramatic

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Wooster Group & New York City Players, Early Plays, directed by Richard Maxwell, REDCAT, February 21-24, 2013 — I’m in 7-11 – the one on Silver Lake Boulevard. I’m buying ice for a field trip my daughter’s 6th grade class is taking later in the day. There’s nothing unusual about the errand, but something about the way the sunlight slants across the surfaces of the Salt Snack displays and the Slurpee counter, or maybe it’s the warmth in the smile of the woman at the register as she hands me my change – she’s from the Indian subcontinent and seems so happy to be here I imagine she’s a new arrival still in the honeymoon phase of the American dream - or perhaps it’s the small courtesy shown me by the young ... [Read more]

Vieux Carré

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The Wooster Group, REDCAT, December 1, 2010 - December 12, 2010 – Art, like life itself, is an activity rich in paradox. The style of an artist, their aesthetic signature, limits as well as shapes their expressive energies. Great artists embrace and also rebel against their own style with equal ardor, and it’s this tension that creates the evolution, the trajectory of their work. Some artists tuck all that struggle behind the drapes; some let it become the direct subject matter of the work itself. Either way, this tension is exactly where we, in our self-created lives, connect to the artistic project in an urgent way. The struggles of the artist with form and style, hidden or shamelessly displayed, show us how to derive pleasure ... [Read more]

LeCompte and Co.

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North Atlantic, Wooster Group at REDCAT, February 10–21, 2010 – Many things went through my mind walking away from REDCAT after seeing the Wooster Group’s North Atlantic, but one of them was surely hats off to the company’s artistic director, Elizabeth LeCompte. First created by LeCompte and company in 1982, North Atlantic holds up remarkably well. The writer, James Strahs, pulled from texts by Thornton Wilder, Arthur Miller, Eugene O'Neill and Gertrude Stein, and the company, anchored by Francis McDormand, Kate Valk, Ari Fliakos and Scott Shepherd, hit their marks with style and precision. Set on an aircraft carrier moored off the coast of Holland, the piece juxtaposes tough-talking military exchanges with kinky sexual banter, ... [Read more]

Shipwrecked – A Response

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Agreed. – Wooster Group's Sci-Fi mashup of Cavalli opera La Didone offered little sense of transcendental satisfaction for the die hard opera lover (of which I am one!). And really the whole conflation felt gratuitous. But as sheer entertainment...I had a great time! First off RedCat feels the perfect spot for this kind of hyperactive performance. Wooster really makes the most of all the technology available. The sound is amped and so are the cast, ready at any moment to take one for team Wooster. Probably my favorite performance was Scott Shepard as sir Piggy. He ran around snorting and grunting executing one prat fall after another, all the while clinging to his ukulele. When at last he is shot down, he belly flops onto a table ... [Read more]

Shipwrecked on Planet Kitsch

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La Didone, The Wooster Group, Redcat Theater, Los Angeles, June 6 through June 21 – Open on a post industrial-style stage and a lush, restless soundscape of way-distorted noise levels with smooth pulsing undercurrents of Baroque chamber opera. The sensual meets cold steel, curvy bods are clad in nicely shaped silver bodysuits. The overall effect has some charms, but like most things that charm, there is a vacuous center. In the case of “La Didone”, a 1641 Baroque opera by Francesco Cavalli, you might argue that the voiding of content began in a palliated retelling of the Dido/Aeneas romance when adapted for Carnival by librettist Giovanni Francesco Busenello. In that opera, the tragic fate of Dido, the beautiful spurned suicide ... [Read more]