For Pandora’s Box.

“Two nights in a row I saw performances where the director conducted the work: Kantor’s wonderful Wieplopole, Wielopole, and a lesser-known production of Wedekind’s Pandora’s Box at the Re-Cher-Chez. The latter was Polina Klimovitksaya’s impressive directorial debut.” Other Stages. Read more.

For Pebble-and-Cart Cycle: one-line tragedies.

“[A]s I sit here reflecting on Terra Incognita’s Pebble-and-Cart Cycle: one-line tragedies, I find that I have nothing to write. The sheer magnitude of the performance, the artistry that was presented in the space, dwarfs whatever sort of lyricism I may attempt in describing what I was privy to. Simply put, it was amazing. It was compelling, it was emotional, it was formative and moving. Like a post-modern Alice, I felt as if I had fallen down the rabbit hole and landed in an interactive Hirshorn installation that immediately plunged me in an emotional dialectic that engagingly challenged while calling into question my own memories and archetypical connections to and longings for a shared, living, human mythology…” DC Theatre Review. Read more.

“What makes this play is not that its meanings are explicit–they aren’t–but that absolutely every detail is controlled and deliberate. In the third segment, a man sits slightly to one side, decked out in a regal ceremonial sash. He doesn’t have lines, but even seated and stationary, he’s an active piece of the action because every smile, every glance, every rhythm is intended. Later he dons goat ears. I don’t know quite what that means, but that’s not the point. I buy it because it’s a concrete choice. As David Lynch would say, there’s a difference between mystery and confusion.” The Washington City Paper: Fringe and Purge. Read more.

“Like our brains, the play’s world is one that is at times silent and eerily clear, and at other times, cacophonous and puzzling.” Read more.

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