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Christina gerky ioff broadway5/24/2023 Hannah Giannoulis and James Orange serve as executive producers. Producers Len Blavatnik and Amanda Ghost for Unigram in association with Robert Fox announced the news. I'm also overjoyed to be reunited with Rebecca Frecknall, with whom I had the most wonderful experience working on my play Sanctuary City." Scott Fitzgerald's transcendent, gorgeous words. Majok added: “I'm thrilled, honored, and inspired to work with this company of extraordinary artists, and to get to live in F. It is an honor to have been offered the chance to recreate this book in song.” Musicals were my first love, and I feel a deep connection to Fitzgerald’s broken romanticism. It contains some of my favorite lines in literature. “It just better be good.Welch said in a statement, “This book has haunted me for a large part of my life. We’ve never seen someone try it but, honestly? I’m tired of theater being so constricting I think people should try things their own way,” Breslin declares. “ Circle Jerk is a very specifically written play about these characters, but there’s a version of This American Wife that doesn’t even involve the Housewives it just asks three performers to find a common obsession in reality TV. A theater company out in Brooklyn had one.”Īs a vocally altered Dua Lipa mix blasts, the creative directors of Fake Friends begin to wonder what it would mean to see someone else stage a production of their work. ![]() “It takes a shit ton of work to get that to happen, and the internet in the theater is nowhere close to strong enough, so we’re using this Wi-Fi machine that is used for journalists in, like, Afghanistan. “You can choose to see either the product or the making of the product as you watch the show,” Breslin says. And while those in the theater will be privy to certain “candid” moments, like an actor doing a quick-change between scenes, the stream will focus on another part of the set, or cut away to a pre-recorded segment. “The Troll,” who functions in the play as a kind of emcee, overseeing (and occasionally hijacking) the action, “is now basically hosting a talk show and interacting with the audience,” Foley explains. Markedly different from its 2020 cyberlaunch, this Connelly iteration creates slightly separate experiences for live and online audiences. Fighting against the blare of circuit beats, the two Yale grads explain to mutual friends the changes they’ve made for Circle Jerk’s new staging. Nevertheless, they persist, twirling around into the evening, lost in a throng of dancing masculinity in muscle-flaunting cheerleader skirts and mesh tank tops. ![]() In a Biden world, there’s a sense of relaxation even though 2024 is right there, and it’s not going to be funny.” “The social media nightmare has gotten way worse, and I think we’re really far from figuring out what it all means and does. “The Elon Musk Twitter of it all…” Breslin laments. This, they hope, will cause “an AI-generated mass self-cancellation white lib heterosexual suicide pact” that allows them to keep partying, free of responsibility, as the world burns around them. Knowing that terrified white libs will follow Frank Ocean’s (righteous) advice to be quiet instead of seeming racist/sexist/homophobic/transphobic, they engineer a series of truth-distorting bots, modeled after composite photos of a presumed-dead, ethnically ambiguous woman on Facebook (indelibly performed by Rodríguez) to prevent pushback. The play’s neo-conservative antiheroes (Breslin and Foley resist calling them villains) aren’t so much explicitly ideological as they are 1) bored of endless discourse, and 2) hip to the ways it can be manipulated to sow chaos. Among its many targets, all of which are encapsulated in the self-surveilling narcissism its title suggests, Circle Jerk mostly ridicules the political weaponization of identity in a meme culture that flattens nuance, and a public sphere that runs on the fear of being found out.
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