{"id":169766,"date":"2025-02-05T10:00:31","date_gmt":"2025-02-05T15:00:31","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=169766"},"modified":"2025-02-05T12:59:58","modified_gmt":"2025-02-05T17:59:58","slug":"new-theater-new-york-2025","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2025\/02\/05\/new-theater-new-york-2025\/","title":{"rendered":"New Theater, New York, January 2025"},"content":{"rendered":"
\"\"

Dead as a Dodo<\/em>. Photograph by Erato Tzavara.<\/p><\/div>\n

For two weeks at the beginning of January in New York, a cluster of theater festivals\u2014including Under the Radar<\/a>, Prototype<\/a>, the Exponential Festival<\/a>, and PhysFestNYC<\/a>\u2014stage a confetti cannon\u2019s worth of experimental shows. This year, the first two festivals ended January 19, though some works have been extended into February. Past years have taught me to set modest expectations about intake. I wouldn\u2019t be able to see every show, but many are short enough that you could, if you really wanted to, play calendar Tetris and squeeze two or even five into one day, as I did one Saturday. (Ticket prices also tend to be less prohibitively expensive than shows on Broadway or even sometimes Off Broadway.)<\/p>\n

The back-to-back scheduling made for a brutal schlep, but it was worth it: During my first week in New York, I saw, among other things, a group of Russian refugee children proclaiming their love for Sarah Jessica Parker in SpaceBridge<\/em><\/a>, a loose confederation of young radicals plotting yes-man-like acts of subterfuge against corporate juggernauts in Eat the Document<\/em><\/a>, and a small sphere lingering ectoplasmically above a group of harmonizing humanoid rats.<\/p>\n

This last show, Symphony of Rats<\/em><\/a>, was produced by the Wooster Group and can be considered an honorary rather than official part of the festival circuit. The late Richard Foreman, who conceived the show, hovers like that electric-blue ball over much avant-garde theater. (Witness the use of voice-over or television clips or fourth-wall-pulverizing techniques currently in theatrical vogue.)<\/p>\n

As with previous festivals, there were hits and misses \u2026 and more than a few shows \u201cunder construction\u201d and therefore closed to review. Not everything was to my taste: Ann Liv Young\u2019s Marie Antoinette<\/em><\/a>,<\/em> in which the artist berates two mentally ill collaborators and plays punitively loud music quickly wore out its provocative welcome. Another show about a man in Tehran and his imprisoned political-prisoner wife was more soporific than its subject matter seemed to promise. I also managed to be turned away by a few shows (in one case, twice by the same show!) for showing up ten minutes late, on the heels of another performance. So much for my Icarian itinerary.<\/p>\n

\"\"

The 7th Voyage of Egon Tichy<\/em>. Photograph by Maria Baranova.<\/p><\/div>\n

One of the first shows I saw was a redux that caused me to quarrel with my own four-years-earlier interpretation of it. The 7th Voyage of Egon Tichy<\/em><\/a>, staged at New York Theatre Workshop\u2019s Fourth Street Theatre, is adapted from Stanis\u0142aw Lem\u2019s time-looping tale of the same name, and originated as a filmed in its actor\u2019s modestly sized home closet. Its premise: Egon Tichy, a hapless cosmonaut, finds himself stranded in a malfunctioning spaceship after being struck off course by \u201ca meteor the size of a lima bean.\u201d As his ship\u2019s computer informs him, realigning the craft\u2019s rudder requires two people\u2014a cruel cosmic joke on the solitary spaceman. Happily, some of Egon\u2019s future selves are soon manifested via a \u201ctime vortex\u201d and take up residence in the bathroom, library, sleeping quarter, and other modular areas. Unhappily, these selves (who take their names from different days of the week) quickly turn on each other as each one attempts to assert the primacy of his own identity and keep a fingerhold on reality. The variant Egons are projected on large screens, and Joshua William Gelb, the actor who plays all versions of the cosmonaut, delivers a memorable Chaplinesque performance as he engages with his alternates through timed videography. Frying pan duels aside, the Egons\u2019 arguments about selfhood are eminently relatable. Watching Gelb inchworm across his cramped quarters and bicker with other Egons, I relished the panache with which the show fully commits to the contingency of identity.<\/p>\n

 <\/p>\n

\"\"

The Black Lodge<\/em>. Photograph by Maria Baranova.<\/p><\/div>\n

Michael Joseph McQuilken and David T. Little\u2019s \u201cgoth industrial rock opera\u201d Black Lodge<\/em><\/a>, commissioned by Beth Morrison Projects and the Allen R. and Judy Brick Freedman Venture Fund for Opera, steers us through a series of haunting mindscapes. In one, a man plays a deadly game of Russian roulette with his lover. In another, the same man is slowly mummified in clay and skewered by the woman (now dressed in a doctor\u2019s uniform) with ethereal twigs. An unsettling scene of black-lipped, bandaged men in a desert repeats, turning up like an unlucky penny. The vignettes, which unfold on a cinema screen behind a group of live performers (the band Timur and the Dime Museum along with the Isaura String Quartet), all seem to orbit the man\u2019s abiding regret over killing his beloved. The performance artist Timur, who plays the nameless man, wears a passport expression throughout much of the show, as if in a trance or daymare. McQuilken, the director, has said that he sought to \u201cmovie a score\u201d instead of scoring a movie, and it works: the visual montages power the opera\u2019s music, which wheels from berceuse to nu-metal fury to the hypnotic. Earplugs are provided.<\/p>\n

When Raymond Chandler wrote, in The Big Sleep<\/em>, that \u201cthe world was a wet emptiness,\u201d he could have been describing the atmosphere of Dead as a Dodo<\/em><\/a>, a dazzlingly inventive puppet show produced by the theater company Wakka Wakka. The eighty-minute show conjures an allegory from the depths of a shadowy void, where every sound seems to echo into an infinite abyss. The only sources of light are the glowing orbs of two pairs of eyes, belonging to a skeletal boy and a dodo. We follow this boy and his avian companion as they traverse a desolate realm in search of replacement bones for the boy, who is missing a leg and preemptively lamenting his own imminent \u201cdisappearance.\u201d They encounter red spaghettilike scavengers, a hungry iridescent whale, a giant purple worm, and the Bone King, a cigar-chomping figure\u2014half washed-up rock star, half mobster\u2014who presides over the Bone Realm along with his eerie daughter. The production excels in its visual storytelling, blending intricate puppetry with the skillful use of light and shadow. One standout sequence immerses the audience in the River Styx: undulating sheets of plastic become waves, drawing viewers into an otherworldly underwater pursuit. It manages to be subtle and even, maybe, hopeful: as the boy and the dodo struggle to escape their nemeses, the bird begins sprouting feathers.<\/p>\n

 <\/p>\n

Rhoda Feng is a freelance critic whose work has appeared in <\/em>4Columns, Artforum, The Times Literary Supplement, frieze, The Nation, and <\/em>The New York Times.<\/p>\n","protected":false},"excerpt":{"rendered":"

New plays shown in New York’s theater festivals early last month. <\/p>\n","protected":false},"author":489,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[68817],"class_list":["post-169766","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-experimental-theater"],"acf":[],"yoast_head":"\nNew Theater, New York, January 2025 by Rhoda Feng<\/title>\n<meta name=\"description\" content=\"February 5, 2025 \u2013 New plays shown in New York's theater festivals early last month.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2025\/02\/05\/new-theater-new-york-2025\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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