BOMB 118/Winter 2012
WEB EXCLUSIVE Uniting three works of opera that span over 100 years, Michael Counts curates, directs, and designs his vision Monodramas for the New York City Opera. He speaks with musician John Zorn about the scale and challenges of the stage.
WEB EXCLUSIVE Michelle Boulé refers to dance as channeling, where movement is a conduit. Here she discusses her choreographic influences, like Miguel Gutierrez and Deborah Hay, and the increasing intersections between dance and visual art.
WEB EXCLUSIVE Oskar Eustis, the Public’s Artistic Director, and his collaborator, Hewes Award-winning set designer David Korins. Having recently collaborated on Passing Strange among other productions, the two discuss how process makes perfect.
Read a BOMBLive! edited transcript of this video interview: Young Jean Lee interviewed by Richard Maxwell at Mabou Mines Theatre, New York City in November 2008.
WEB EXCLUSIVE David Levine spoke to director Michael Thalheimer as he prepared to bring his version of Frank Wedekind’s Lulu to New York. This interview is a part of the Select Equity Series on Theater.
Members of the downtown theater company share their commonalities with Occupy Wall Street and ideas on alternate uses for plastic bags.
Scott Shepherd, narrator of the Elevator Repair Service’s GATZ and actor in The Wooster Group’s version of Vieux Carré talks shop with playwright/director Richard Maxwell.
The two playwrights and performers on the drawbacks of being in constant production mode versus the pleasures of, and requirements for, the incubation of plays: a dose of folly and wonderment.
While rehearsing her upcoming production Devotion, opening at The Kitchen on Jan 13, Sarah Michelson contemplates, with fellow choreographer Ralph Lemon the gaze and juxtaposition of seasoned dancers with young girls.
Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.
In her most recent theater piece, The Truth: A Tragedy, Hopkins tackled her father’s deterioration. Annie-B Parson rolled the dice to find out how Hopkins converts her demons into one-woman productions blending music, dance, fact, and fiction.
The iconic dancer and choreographer is collaborating with musician Lukas Ligeti on Itutu, blending African pop with Western symbolism. They dissect African polyrhythms and Armitage’s movement language of sinuous curves.
Jefferson describes Bradshaw’s plays as treacherous territories peopled with high-achieving suburbanites and professors gripped by sexual and racial manias. Their most dangerous quality: they act on pure id.
Young Jean Lee interviews Kelly Copper and Pavol Liška, founders and directors of the Nature Theater of Oklahoma. Their production of Romeo & Juliet runs through 1/17 at The Kitchen.
With cheap suits and utopian agendas, the Yes Men invade business conferences and the television newsroom posing as politicians and corporate spokesmen. It’s aigtprop for a new age, played out in real life
The Select Equity Group Series on Theater. Playwright Richard Maxwell directs artist and writer John Kelsey in an impromptu rehearsal of an angst-riddled monologue. A discussion on the intricacies of delivering a text ensues.
The Select Equity Group Series on Theater. Eno, who’s been hailed as “the Beckett of the John Stewart generation,” with his collaborator Sola at the former Howard Johnson’s restaurant and points beyond.
The Select Equity Group Series on Theater. The Academy Award winner on how acting has helped him perfect his other love— directing for the theater. Just opening: Little Flower of East Orange at LAByrinth Theater Company.
Winter Miller accompanied Pulitzer Prize–winning journalist Nicholas Kristof to Chad, interviewing refugees from the Darfur genocide. The result: her stark, highly emotional play In Darfur.
Annie-B Parson and Paul Lazar have compressed dance and theater into their own spectacular hybrid. The Other Here is running at the Dance Theater Workshop through September 29.
National treasure Kate Valk, on her acting life with the famed Wooster Group, their interpretation of Hamlet, and channeling the ghosts of legends. Part of the Select Equity Group Series on Theater.
Master actor John Turturro spoke with compatriot June Stein about the art of directing during previews of Yasmina Reza’s A Spanish Play.
Sarah Ruhl won a MacArthur for The Clean House, which had just closed at Lincoln Center in New York when this issue went to press. Pulitzer Prize-winning playwright Paula Vogel sets the stage.
Doña Julia Julieta, of the International Council of Thirteen Indigenous Grandmothers, on Mazatec ancestral knowledge, sacred mushrooms, and one patient’s extraordinary regression through time.
On the craft of directing and playwriting for a woman’s body, the body politic, and a people’s soul.
Rebeck is busy this fall: “Poor Behavior,” is now in previews at the Mark Taper Forum in Los Angeles. Her play “Seminar,” starring Alan Rickman and Lily Rabe, opens on Broadway in November.
Gabriella De Ferrari speaks with choreographer William Forsythe just after his Kammer/Kammer premiered. His new piece I don’t believe in outer space is at Brooklyn Academy of Music through October 29.
Celebrated for his dissection of WASP America, playwright A. R. Gurney talks with colleague Romulus Linney about Gurney’s most popular plays: The Dining Room, Sylvia, The Cocktail Hour. His latest, Indian Blood opens.
Adam Rapp’s new work Hallway trilogy runs now through the 27th at the Rattlestick Playwrights Theater. In this BOMB 95 interview Marsha Norman probes the underbelly of American life where Rapp’s moody plays take place.
The celebrated playwright and author converses with theater producer Morphos (behind, most recently, Sam Shepard’s The God of Hell), about his book of short stories, A Primitive Heart. In all of Rabe’s work, the past haunts his protagonist.
