Drag artist Le Gateau Chocolat sent a performance from London Thursday night.
Last night’s Opening Night Bash at the Transform Cabaret Festival was … transformative for me. Moreso than last year’s.
I don’t think that’s because this year’s edition was artistically “better”, whatever that means; I think it’s because the overwhelming awfulness of our global crises allowed me to appreciate more fully the power of celebration as resistance. [Read more…]
Members of the Apple family enjoy an online dance performance.
Incidental Moments of the Day is complex, engaging, and so potentially inflammatory that I want to warn you before you watch it. [Read more…]
In Art Heist, the art is missing and so is the resolution.
There’s a lot of foreplay in this show and no orgasm.
In Art Heist, playwrights TJ Dawe and Ming Hudson offer an experience in which audiences of up to 10 people sleuth around Granville Island trying to figure out who pulled off a half-billion-dollar theft from Boston’s Isabella Gardner Museum in 1990. There are 13 clues in the form of QR codes (which you hunt like Easter eggs) and there are five folks to interview. Time and space are flexible: a couple of the interviewees are dead; some exist in the present and some in the past. [Read more…]
Hana Joi does her best with clumsy material in A Hundred Words for Snow. (Photo by Doug Williams)
This is the first time I’ve attended a live performance since the beginning of the plague, so I’m going to start off by talking about that.
Going in, I was mildly freaked out; I’m 68 and I’m taking immunosuppressant drugs. Because I’m vulnerable, I wore a mask and a face shield. But I ditched the shield after about eight minutes because it made me feel like I was in another room. Besides, I was aware that United Players, the producing company, was taking good care of me. [Read more…]
