Jay Ryan

La Musica Deuxième

May 8, 2024

Jessica Burr’s Blessed Unrest production of Marguerite Duras’ "La Musica Deuxième" in the 1992 translation by Barbara Bray is like a violent Jean Paul Sartre short story directed in the cool style of filmmaker Éric Rohmer. Whether this is best for the material, you will have to decide for yourself. Aside from the 2023 film of Duras’ play Suzanna Andler, this is the first New York presentation of one of her plays since Savannah Bay at the Classic Stage Company in 2003. [more]

The Whole of Time

January 8, 2024

Aside from the title not being explained, the Jean Graham-Jones translation seems to end very abruptly. Nothing is settled at the end of its short running time and it certainly feels like more is to come, unlike Williams’ play. There are also too many unanswered questions like what does Ursula do that supports the family of three, why has Lorenzo chosen Spain to move to, what event caused Antonia to stop going out, what is the relationship between Lorenzo and Maximiliano, etc. While Ursula is proud of her Hungarian and Mexican heritage we don’t learn much about it. The Whole of Time plays like a sketch of a play that hasn’t been written or that need a second act to deal with all the loose ends. [more]

Misconceptions

May 21, 2023

Abortion, pro or con? The Blessed Unrest theater company has taken on this thorny issue. Steven Wangh’s "Misconceptions"—an ironically perfect title—unfolds in the form of a series of interviews which take us into every nook and cranny of the issue—pro and con. It is by no means just a dry documentary or a blasting screed, but a warm, sophisticated and ultimately moving humanization of the subject. [more]

The Flatiron Hex

September 15, 2017

Dazzling hand puppets, stick puppets, marionettes and shadow puppets that are projected onto screens, which were all created by Godwin, depict this gallery of archetypal characters. These are all fantastically employed by him and are on display for the show’s 80 minutes. [more]

Ellen Cornfield/Cornfield Dance: “Close-Up” (2017)

May 23, 2017

There was a mysterious coolness about “Close-Up” which, according to a program note by Ms. Cornfield, was meant to delve into the personalities of her five dancers, doing this by assigning very particular gestures—touching the face with a finger, holding a palm to the forehead, quivering hands, mimed pouring, nods—and facial expressions like appearing to laugh or shout to each dancer. She called these intimate, non-dance details, “zoom close-ups.” These quirky bits were additions to sleek, catlike movements that included lunges, low leg circling and the kind of balletic movements that were the centerpiece of Cunningham’s choreographic output. [more]

A Christmas Carol (Blessed Unrest)

December 26, 2016

Director and choreographer Jessica Burr has created a number of dazzling moments with her precise unison of expressive staging, movement and dance. With only a few vintage trunks and a door, all on wheels, Ms. Burr achieves many vivid stage pictures. Walking up a flight of imaginary stairs is a thrilling display of mime. Burr’s work with the ensemble, most of whom play several roles is excellent with their colorful characterizations as evidence. [more]

The Flatiron Hex

May 27, 2015

Godwin's talent in seamlessly operating the puppets is an impressive sight and the use of old-fashioned materials, such as a slide projector to represent a lab was a nice choice in this age of advanced technology. The classic "mad scientist" imagery is perfect for evoking historic New York. Some choices are definitely not for the squeamish and audiences should prepare themselves for certain sights and sounds that will definitely prompt a reaction. [more]