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In the News
Wicked Local: Step right in - OBERON's dynamic shows attract younger audiences to live theater (November 6, 2014)
“It’s possible to see something that is raw and rough, but amazing,” she says. “Artists are given the chance to take chances and be fearless. The theater artists at ART know they got here by having had the chance to take risks earlier in their careers. We want to create that opportunity for others. Theater artists need places where they can take risks.”
Jeannette Bayardelle plays multiple characters and wrote the text and music for “Shida,’’ about a fledgling writer.
Suzan-Lori Parks' stunning new drama, Father Comes Home From the Wars (Parts 1, 2 & 3), is that rare work of art: one that bears the heavy burden of its subject matter—the peculiar institution of American slavery—but that carries it lightly. (The nearly three-hour production runs through Nov. 16 at the Public Theater.)
Even in our supposedly ADD culture, people long for stories that engage the deepest possible issues in the most gripping possible ways. Father Comes Home From the Wars is one of those stories — or maybe more than one.
New York Times: Ulysses as an American Slave - ‘Father Comes Home From the Wars,’ by Suzan-Lori Parks, at the Public Theater (October 28, 2014)
By turns philosophical and playful, lyrical and earthy, Suzan-Lori Parks’s new play, “Father Comes Home From the Wars (Parts 1, 2 & 3),” swoops, leaps, dives and soars across three endlessly stimulating hours, reimagining a turbulent turning point in American history through a cockeyed contemporary lens.
This 60-minute descent into self-delusion offers a haunting and occasionally humorous window into the lengths people might be willing to go in pursuit of fame.
The degree of difficulty in the style of the play, both in terms of Ravenhill’s writing and the performers’ agility, is engagingly high. ... Anytime A.R.T. or anyone else wants to bring Ravenill or One Year Lease Theater Company back, I’m there.
Any resemblance between the struggling visual artists in the play and the people who make small-company theater is, well, not entirely coincidental.
It’s a typical Saturday night for Mauriello, one of the stars of Diane Paulus’s “The Donkey Show.” It starts at the American Repertory Theater’s Oberon stage and ends, like Saturday nights at Harvard often do, with a Felipe's run.
In a clubscape that can feel highly fragmented, where night owls tend to find their micro-scene and stick to it, The Donkey Show at Oberon achieves the impossible: blurring every last social boundary with a scandalous amount of glittery skin and thumping disco anthems that thrust every gamine hip into reimagining Shakespeare’s A Midsummer Night’s Dream, the bacchanalia’s loosely insinuated theme.