Trump Card : the nightmare, the dream, the reality.

The monologue, written by Mike Daisey performed and adapted at AS220 by Seth Lepore, goes to show that at this moment, and now for the foreseeable future, all political theater is the theater of the absurd. The show starts and ends in a nightmare, in between, delivered in vivid metaphor, the history of Donald J.… Continue reading Trump Card : the nightmare, the dream, the reality.

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Epistemology and Farce compete in Donald, Ted, and Marco

Donald, Ted, and Marco presents the audience with an explicit break from reality. The stage is not so much set, as it is demarcated by fluorescent green tape in a grid pattern on the floor and spreading partway up the wall before dispersing. The visual instantly recalls a virtual world being rendered; a glimpse of… Continue reading Epistemology and Farce compete in Donald, Ted, and Marco

Directorial Vision: Rebecca Maxfield makes the Cradle Will Rock simply, honest.

Head Trick Theater’s director Rebecca Maxfield wasn’t thinking about contemporary politics or parallels when she selected the 1937 labor musical The Cradle Will Rock as one of the two shows the company is putting on during their residency at AS220. Instead, the show, originally funded for development and production by the Works Progress Administration under… Continue reading Directorial Vision: Rebecca Maxfield makes the Cradle Will Rock simply, honest.

Let your voice be heard: a night out at the Providence Poetry Slam

The audience sits in messy rows of folding chairs at AS220’s Main Stage, some alone, some with friends, people linger at the back and lean against the walls. Tonight they are subdued, which is why Vatic, co-director of the Providence Poetry Slam and the evening’s MC, urges the crowd to make some noise, “It’s not… Continue reading Let your voice be heard: a night out at the Providence Poetry Slam