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Theo Cote

THE AЯTS

September 17, 2018

Conceived and written by Kevin Doyle, "THE AЯTS" offers sophomoric antics that are a virtual parody of performance art techniques. There’s a lot of buzzers à la Richard Foreman. The show is a presentation of Sponsored By Nobody, “an international theatre company in search of a blue-collar avant-garde” that creates interdisciplinary works of “abrasive theatre.” [more]

Time No Line

February 27, 2018

In the moving and affirmative final sequence, journal entries from 1989 to 1990 are projected as text that details deaths of friends. Kelly is on the floor silently drawing shapes with white and then red chalk that becomes a configuration of human forms. One of the entries shown from that era reveals his HIV positive diagnosis. [more]

The Pill

January 29, 2018

This comedy/drama/fitful musical also suffers from major tonal challenges, as it strains to push all of our emotional buttons. It’s a shame, because the cast gives it their all. Particularly good is Zoe Wilson, as Leni, a severely depressed teenager whose body dysmorphia has led to self-cutting and bouts of suicidal ideation. Wilson is just the right mix of pained and angry. Whenever she speaks, or sings, The Pill feels centered and we’re ready to delve deeper into Leni’s personal struggles. [more]

Conquest of the Universe Or When Queens Collide

November 13, 2017

Played to perfection with an infectious joy by one and all, the entire cast also takes a deadly serious attitude towards their lines and their actions. Indeed Ludlam’s "Conquest" invokes "Hamlet" in its final scene, when many of the characters die--even following a previous “gravedigger” scene. And as staged by Quinton, the final “banquet” scene also invokes Da Vinci’s “The Last Supper.” All I can say is, go and enjoy! [more]

Phantasmagoria; or, Let Us Seek Death!

October 31, 2016

Benjamin Stuber’s puppetry designs are a disappointment and should be more thoughtful and complementary to the play. Ghoulish puppets that are meant to disturb seem make-shift and thrown together. There is only one disturbing and appropriately quirky puppet effect – the appearance of a huge eye, set into a collage background of assorted textiles. [more]

Pylade

December 10, 2015

Marko Mandič is an award-winning acclaimed classical actor from Slovenia who has worked several times with Mr. Buljan. His talent, charisma, and physicality justify that acclaim as witnessed here by his performance in the title role. Vocally expressive and emotionally volatile, he is truly naked through most of the play’s second half and unselfconsciously performs heroically even through the most awkward sequences. These include the incident with the watermelon and later painting his genitals black to match those of the actor playing Orestes who doesn’t display his. [more]