Author: Margo Gray

In Performance: The Sprint Festival @ Camden Peoples Theatre (London) Part II: One-on-One

The Sprint Festival’s popular One-on-One night presented seven works that focus on the intimate connection between performer and audience member. Though several of these were not one-on-one experiences in the traditional sense, they all demanded their audience or participants rethink the terms of their presence. (Note: Six shows are discussed below; a seventh show, Suitcase Civillians’ Re:Memory, ...

In Performance: The Sprint Festival @ Camden Peoples Theatre (LONDON) Round-up, Part 1

The Sprint Festival at Camden People’s Theatre, an annual showcase of innovative work from around the UK, wrapped up on Sunday. Keep an eye out this week for round-ups of work from throughout the festival. Rhiannon Faith’s Scary Shit Rhiannon Faith, a disarming, highly personable performer, creates “autobiographical shows exposing the impulsive, messed-up and multi-faceted aspects of humans.” Her ...

In Performance: Jamal Harewood’s The Privileged at The Sprint Festival (London)

Solo artist Jamal Harewood specializes in creating “temporary communities through participatory events.” In The Privileged, performed as part of the Sprint Festival at Camden People’s Theatre, the assembled participants are asked to prepare for an encounter session with a polar bear by removing their bags, shoes, and coats. In the absence of a polar bear handler, numbered envelopes contain instruc...

In Performance: Coney’s Adventure 1 at the Sprint Festival (London)

Thought-provoking and just provoking in general, Coney has crafted a participatory adventure with real world implications. Adventure 1 begins the week before the date on your ticket, when an associate named Josh Smith contacts you to help you wrap your mind around what you are about to do. Though disclosing too much information here would spoil the fun, I can tell you that the adventure involves f...

In Performance: Almeida Theatre’s Game (London)

Game follows the story of a family who’s made a devil’s bargain in exchange for a beautiful new home. Designer Miriam Buether has transformed the Almedia: four audience seating roosts kitted out in camouflage like overgrown duck blinds surround a central performance space, which is alternately revealed and hidden by electronic blinds. The family’s tormentors, a warden who manages the visitors and ...

In Performance: Sorry Robot at PS122’s COIL Festival (NYC)

In the ancient tradition of tales of robots dealing with their feelings, the new musical Sorry Robot has a human kind of unpolished wildness. The story follows unlucky-in-love Detective Isaac Crownover as he investigates a new kind of emotional software for robots. The noir-like detective plot might benefit from some clarification, as the question of who’s pretending to be or aspiring to be or acc...

In Performance: Karen Sherman’s One With Others at American Realness (New York)

The Brutalist architecture of Abron’s Underground Theatre is the perfect setting for Karen Sherman’s exploration of using and being used. The stark concrete walls pair well with the simple machines employed by the performers: old-fashioned overhead projectors, an iron, pieces of wood secured with bolts or hooks. Carrie Wood’s stark lighting throws larger-than-life shadows of the performers onto th...

In Performance: Faye Driscoll’s Thank You For Coming: Attendance at PS122’s coil COIL Festival (New York)

Wear clean socks to Thank You For Coming: Attendance, because as soon as you enter you’ll be asked to remove your shoes. This is just the first invitation the audience receives to become part of a one-night-only community. Throughout the performance, the audience is encouraged to react, reconfigure, assist, join, and sometimes even replace the performers as they interact with and transform e...

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