Jennifer Krasinski

• 

  performance April 2018

  GRACEFULNESS MUST BE SOUGHT

  IN HE BROUGHT HER HEART BACK IN A BOX, Adrienne Kennedy’s first new play in a decade, the titular heart is a gruesome rumor—one that holds a truth too unwieldy, too excruciating, to be simply received as fact. As one of the most important experimentalists in American theater, the eighty-six-year-old playwright has written twenty-odd works at once cerebral and unhinged, phantasmagoric and lucid, all of which make vivid the brutalities visited by racism on the mind and body of a woman of color. Throughout her work, it is a condition that leaves madness and monsters in its wake.The mind

• 

  performance December 15, 2017

  The Boy in the Band

  MORGAN BASSICHIS IS A COMPOSER, a comedian, and a cabaret artist (not necessarily in that order). In performance, he plays piano, tells stories, and sings in a voice so honeyed and seductive that audible sighs are sometimes heard coming from the audience at the end of his songs. Lithe as a whippet, with laser beam blue eyes, he carries himself with both the self-deprecation of the comedian, and the self-possession of the diva. “You know I start every day with gratitude,” he zinged at Danspace Project at Saint Mark’s Church in October during a live recording of his forthcoming album, More Protest

• 

  performance July 05, 2017

  Phantom of the Oprah

  “THERE WAS A TIME—way, way back—when Oprah was a human being, just a woman, she felt pain and she suffered. She felt fear and desire.”

  So begins the storytelling in Poor People’s TV Room, a performance conceived by Okwui Okpokwasili, coauthored, designed, and directed in collaboration with Peter Born. Part theater, part dance, part installation, the piece hovers in an undefined space and time, conjuring the stories of four women: Merit (Katrina Reid), Madame (Okpokwasili), Honor (Thule Dumakude), and Yeru (Nehemoyia Young). From the grand tales of Oprah’s origin myth to the intimate gossip about

• 

  performance May 23, 2017

  Absolutely Fabulist

  THERE’S NO SATIRE QUITE LIKE THE PRESENT, a fact that poses a funny challenge to contemporary comedy—or at least threatens it with redundancy. How to harness the power of a joke, when a joke has been made all-powerful?

  Enter the great Absurdist, performance artist Michael Portnoy. His latest piece is titled Character Assassination, and it is (in part) a comedy heralding the end of comedy—or at least pointing to the rafters from which it’s hanging itself. Written in collaboration with Dan Fox (art critic, coeditor of Frieze, and author of Pretentiousness: Why It Matters), this deft and dizzying

• 

  performance January 24, 2017

  Fail Safe

  FAILURE HAS ALWAYS BEEN a ripe subject for theater. The stars don’t ever align for Romeo and Juliet. The three Prozorov sisters will never live happily ever after. Godot won’t arrive.

  The world’s stage is no different. The current spectacle of the forty-fifth President—his sociopathic twists of fact and fiction, stories told to seize the spotlight, to succeed—promises no happy endings either. It is part of the dispirit of our age that we must recognize that certain people seek not only to align themselves with power and money, but, barring real access to these things, they land their pride on

• 

  diary September 27, 2016

  Viva Viv

  “IS IT A MAN OR A WOMAN? The answer is no!” zinged Murray Hill, downtown’s favorite Drag King of Comedy—heir unapparent to the likes of Henny Youngman and Rodney Dangerfield. The occasion for Hill’s hot buttering of cold one-liners (and totally Catskilling it) was Trans/Art/Family: The Vivification of NYC, a night at Joe’s Pub in celebration of the singularly brilliant performer Justin Vivian Bond. Downtown being downtown, the event was also a fundraiser for two essential cultural institutions: Participant Inc., the nonprofit art space led by superhero Lia Gangitano, and The Gender and Family

• 

  performance August 01, 2016

  Madness and Civilization

  TO THINK AND SPEAK AND ACT in the way of madness—meaning, to speak in opposition to madness made popular, shared, atomized, taken as reason, as the natural way of things—only to be seen and heard and understood as madness, as criminality, itself: This is the condition of Moses’s mother, or rather the woman we think of as Moses’s mother in theater artist Romeo Castellucci’s harrowing and brilliant Go Down, Moses.

  Spun very loosely from the story of the Biblical hero who led the Israelites to the Promised Land, Castellucci’s play doesn’t tell us the story of the great prophet. Instead, it follows

• 

  diary July 28, 2016

  What’s the Occasion?

  EROTIC SOCIABILITY was in the air that evening, or at least that’s what we were told. The occasion for any and all frisson, real or imagined, was one of artist Isabel Lewis’s “occasions” held at Dia:Chelsea on the Friday of 4th of July weekend.

  Dia, as decorated by Lewis, certainly looked ready to put out. The front gates of the building were all open to the street, and the walls were completely bare. Modern white couches and concrete-topped bar tables placed throughout the space gave the audience places to sit and stand, floor-to-ceiling installations of air plants gave them something to Instagram,

• 

  performance April 15, 2016

  Big Words

  IS DEATH A CRUELER FATE for those who have lived a creative life? Is it a greater tragedy that one day a body that has channeled dance or theater or poetry will betray not just life, but art too? These questions surfaced in two recent productions, each of which consider the condition of the male artist in his golden years: Alvis Hermanis’s Brodsky/Baryshnikov starring Mikhail Baryshnikov, and Robert Wilson’s performance of Samuel Beckett’s Krapp’s Last Tape. At the center of both plays are the words of long-dead authors, ego ideals for the artists on stage. In the face of their own mortality,

• 

  performance January 29, 2016

  Proof of Life

  “ROSE IS A ROSE IS A ROSE IS A ROSE,” wrote Gertrude Stein, her most famous line dissolving the distinctions between a woman, a name, a word, a flower. Identity is, as the writer suggests, a slippery condition, and who we are rarely has much to do with how we’re called. In Erin Markey’s rousing and tender new musical A Ride on the Irish Cream, Irish Cream is a name is a pontoon boat is a horse is a lover, all borne in this production on the body of trans performer/writer Becca Blackwell, who is also Markey’s partner in life. One of the distinct pleasures of this joyful show is how it brings to

• 

  performance December 29, 2015

  Pulling the Plug

  IN 1981, Tony Award–winning actor/singer/dancer Ben Vereen accepted an invitation to perform as part of Ronald Reagan’s All-Star Inaugural Gala. Also slated to entertain the newly elected Republican and his supporters were Frank Sinatra, Charlton Heston, Debbie Boone, Donnie and Marie Osmond, and Johnny Carson, the show’s master of ceremonies. Knowing the event would be broadcast to millions of viewers, Vereen decided to address the troubled history of black performers in America with a tribute to Bert Williams, one of the great vaudevillians (and subject of a forthcoming program at MoMA), a

• 

  performance October 28, 2015

  Delusional Downtown Divas

  THE PSYCHOSIS OF SISTERHOOD never goes out of style, I suppose. Two recent performances feature characters who are sisters—each other’s closest and most cherished rivals—and yet strangely at the heart of each of these productions is a kind mourning or meditation on theatrical space. Why?

  Basil Twist’s latest production, Sisters’ Follies: Between Two Worlds, was commissioned for the one hundredth anniversary of Abrons Playhouse, founded in 1915 by sisters Alice and Irene Lewisohn to give a home and audience to avant-garde theater. Part of the absolute delight of the show is its celebration-cum–