BAM’s “And Then it Hits You” Ad Campaign Promotes Violence.
Turns out not everyone riding the MTA wants to remember their experience at BAM. “The Harvey Theater on a Friday is more crowded than the L train at rush hour,” says playwright Ariel Stess. “I was jostled, it was uncomfortable, and I saw people hitting on each other.” Stess, who has banded together with fellow writer activists, asks that for every BAM subway ad, a trigger warning ad run alongside it. “I just feel like the word ‘hit’ has violent connotations,” says Stess between a handful of Pirate’s Booty. “What are we promoting here—art or physical violence?”—KW
The Wooster Group to be Renamed the Sullivan Street Gang.
The seminal theatre troupe recently announced it’s changing its nom de jeu. “We’re looking to rebrand,” said artistic director Liz LeCompte, who informed The Radish that the company’s next show will be a straight forward revival of Oklahoma!. “We want to explore other avenues, you know? Musicians reinvent themselves all the time, why can’t we?” The video-free Oklahoma! is slated to bow in the fall of 2016 at a new venue, the Car Port, on Sullivan Street between Prince and Spring. –KW
Teddy Nicholas Trampled at the Public’s First Ever “Free for All.”
Playwright, cat lover and Facebook poster extraordinaire, Teddy Nicholas suffered bruises and abrasions after getting trampled in a stampede at the Public Theater’s first-ever Free for All for Fortress of Solitude, in which free tickets were given away gratis.
“It was scarier than that Black Friday Walmart video,” said Nicholas at La Colombe on a temperate Tuesday afternoon. “I’m using arnica gel—dealing with health insurance gives me too much anxiety.” Was the free ticket worth the price of pain? “I preferred the book,” Nicholas said with a shrug while sipping his cappuccino.—KW
Adam Szymkowicz Stops Counting How Many Playwrights He’s Interviewed.
Amidst recent accusations that he’s forged all 694 of his playwright interviews, an inside source revealed to The Radish that Szymkowicz may have also invented the identities of up to half of the playwrights on the popular weblog. Until we can confirm the WHO—and the WHAT—of these allegations we don’t want to guess. In the meantime, Szymkowicz released an official statement to The Radish. “I can’t keep counting playwrights. There are so many of us and so few slots at the Rattlesnake Theatre. It’s just too depressing.” We couldn’t agree more. —KW with contributed reporting by Shaina Cohen Jones
MacArthur Foundation has Awarded an Inaugural Genius Intern Grant to its Own Intern.
Sasha Kenny-Taub, the 33-year-old intern grantee, has worked at regional theatres around the country and professional downtown theatres for the past decade. “I’ve never been awarded anything except internships and unpaid fellowships,” Kenny-Taub told The Radish over the phone. “This is such a huge honor.” The grant comes with a one-year unpaid fellowship and bronze plaque.—KW
gossip FROM VOLUME 1, issue 1 october 2013!
Young Jean Lee is having a baby.
Her “worst idea yet” has become a reality.
The playwright subscribes to a most unusual artistic philosophy. “My maxim is basically I try to think of the worst idea for a show I could possibly think of, like the last show in the world I would ever want to make. And then I force myself to make it,” says Young Jean Lee with an air of merry masochism. Sources say Lee is due to give birth to her baby—a play about straight white men—in the coming months. “I’m really hoping it’s a Gemini,” the playwright says nervously biting a nail. “I think it’d be cool to be the same Zodiac sign as my kid.”
Jay Scheib trapped in his own simulated simulacrum.
Scheib, known for his Simulated Cities/Simulated Systems series, was mixing multimedia with what Time Out New York describes as “deadpan cool—and some very sexy actors”—when he entered a rabbit hole spin cycle turned simulated simulacrum. “If someone could get me out of here in time for the premiere of Platonov, or the Disinherited at the Kitchen in January, I’d really appreciate it,” the director/auteur said in measured tones.
Vallejo Gantner requests Eliza Bent’s friendship on Facebook.
“I’m not exactly sure who she is, must have been one of those ‘People You May Know’ click throughs” the artistic director admitted between sips of a raspberry lime rickey while strolling through the East Village. “I mean the name sounds familiar, but who is she? What does she do?”
Bent could not be reached for comment, but sources confirm that though she accepted Gantner’s request, Bent vowed to never again reintroduce herself to the Australian mover and shaker outside of theatres before or after shows.
Mike Daisey gets his period after performing in All the Faces of the Moon.
The monologist complained of cramping and bloating but dismissed it as indigestion and indulgence in too much lactose. “I do love cheese,” he was overheard joking to artistic director Oskar Eustis. (Eustis didn’t have a tampon, but did commission Daisey’s 29-night performance cycle.) “This explains the pimple on my chin and yesterday’s foul mood,” Daisey said with a signature mix of cheer and gloom. “Does this mean I need to get one of those moon cycle applications for my smart phone?” Playwright Sybil Kempson, who happened to be walking her dog by the Pubic Theater, misunderstood chiming in about moon horoscopes. “Moon Deluxe is the best phone application. Everyone should get it. Sometimes it even recommends you eat cheese!”
The Village Voice vows to publish entire chain of production emails for An Octoroon.
Branden Jacobs-Jenkins’s An Octoroon will bow at Soho Rep in April/May next year. When a version of the play was presented at PS 122 in 2010, a cast member sent an email screed so vitriolic that the Village Voice reprinted it in full and opened it for comments. (This is the kind of journalism we at The Radish love to abhor and hate to adore!) What followed was Theatre of the Internet in which jokesters and pokesters posted a dizzying amount of comments in dismay over the Voice’s practice, in protest and support of the play, as well as some hilarious joke posts by people like “Shakespeare” (duh, the Bard is dead). Sadly these comments have been taken down.
In a goodwill effort the Voice has promised to publish the entire chain of emails among the production team at Soho Rep, which go back as far at 2011. “The internet is infinite,” a source from the Voice enthused. Jacobs-Jenkins remains cautious. “I better get an Obie for this. Are those even still happening?”