84 stories by "Dan O'Neil"
Tina Satter's direction and Half Straddle's pitch-perfect company establish and then maintain an unblinking focus that cuts through the dissipating fog and rewards the audience's taut attent…
The Making of King Kong sets out to unpack the monstrosity of our current cultural moment via the monkey, simultaneously evoking a 1930s acting style (transatlantic accents abound) while com…
While the subject matter is dead serious, the style and aesthetic approach feels giddy, unafraid of big stupid choices when they're appropriate.
There is pain, hurt, lovesickness for miles in every direction, emanating from this club across the country, world, and intergalactic beyond.
What makes this Oklahoma more than just smart is how it ruthlessly strips away the glaze of nostalgia that usually accompanies such restagings in order to uncover what seemingly must have al…
Payne keeps his audience from jumping ahead to any particular conclusion by deploying a second (bigger, metatheatrical) frame around Karma's story, one in which the house lights keep coming …
Their movement allows them to take up all the space, filling the stage all the way to the frame.
We share our sweat, our humidity, our heat. We weather it, as Kelly does inside the box.
What was I doing? Why was I here? What had I hoped to achieve from this? So many people I didn't know! Communal living having its obvious benefits, but not that easy to suddenly just find on…
Hammel draws us in to her experience, while granting us a bit of separation from the material itself (which is unrelentingly bleak, flirting with misogyny, although its view of the male spec…
This is Peter Pan set in a dystopian futureland, the music acting as a remnant of a memory of a time when feeling was more possible, when childhood was more innocent; before we found ourselv…
How do you deconstruct a deconstruction?
There is a dizzying effect to the realization / acknowledgement of one's cringe-worthy actions as white person to date, and Aloha Aloha gives that kaleidoscopic wheel quite the healthy spin.
there's never enough time and we're always reaching back, trying to remember what it felt like to crack wide open for the first time.
The evening resembles what one might imagine how a Moth Storytelling Hour might play out if it were held at the Restaurant at the End of the Universe.
Responding to CUTE ACTIVIST at the Bushwick Starr: "Does this play want me to 'like' it or to 'crying face' it?"
Sobelle's work relies heavily on what one might describe as "sleight-of-staging," which I'll posit here is a cross between what a magician does with objects (cards and the like) and what a d…
Stylistically, Big Dance Theater's 17c (part of Brooklyn Academy of Music's Next Wave Festival through November 18th, tickets from $24) invites comparison to (among other works) the film dir…
She exists, she conjures, she illuminates through whisper and scream.
Dan O'Neil interviews Tantztheater Wuppertal Pina Bausch dancer Stephanie Troyak, and asks the question: "Can we make this?"
Dan O'Neil steps into an escape room as part of an immersive theater project.
The post Review: Paradiso: The Memory Room appeared first on Exeunt Magazine.
To attend is to remind yourself how much we miss by relying on established institutions to deliver us our culture, pre-curated and mixed just so, on whatever silver platter they might have r…
In THE POWER OF EMOTION: THE APARTMENT, the notion of emotion as a perfomative element provides the foundation for a wider exploration on how we not only watch, but hear and interpret emotio…
To what degree must our celebrities look, sound, and live lives enough like ours in order for us to fetishize becoming them?
A response to The Krumple's 'YOKAI: Remedy for Despair' via the questioning of how one responds to art and how dependent that response is on form and location.
