Having never seen a production of his, I moved from Seattle and signed on to be a dwarf (i.e. the Ontological Theatres unofficial lingo for non-speaking non-Equity role) in 2004s King Cowboy Rufus Rules The Universe.
Astaire’s high-stepping film routines, made his name in the late 1990s with his high-profile reimaginings of such balletic warhorses as The Nutcracker and Swan Lake. These restagings succeeded primarily because of Bourne’s ability to translate the classic ballets’ emotional claims into a contemporary idiom.
On a recent afternoon Justin Bond and I strolled through the Metropolitan Museum’s special exhibit, Glitter and Doom, German Portraits from the 1920s. Surrounding us were images of perseverance in the wake of war, of a people stabbing forward into the headwind of political and social change. “I wish I were in one of these,” Bond mused.
“Geek is good.” That’s not the motto of the Vampire Cowboys Theatre Company, but it could be. The Williamsburg-based troupe builds its productions—and its audience—by tapping an appetite for spectacle-laden shows that sport everything from undead Shakespeare characters to—no surprise—blood-sucking gunslingers.
I think were getting really far away from something important, says Anna, one of the six characters in The TEAMs new play, Particularly in The Heartland, which runs through March 18 at PS 122.