Jerome Joseph Gentes
Author’s note: I attended two different “versions” of Taylor Mac’s A 24-Decade History of Popular Music at The Curran on Sunday September 24 and at Stanford’s Bing Concert Hall on Wednesday September 27. This review compares the two audience experiences of “Chapter IV” and “Abridged Version” respectively.
What makes a piece of theatre a phenomenon? What turns it from instance to event? Driven by conscious and subconscious hope that their art goes the analog equivalent of viral, artists create art everyday from fine to pop, traditional to technological. Artistic organizations do this, as do artist teams. Most of it never becomes an event. Theatre that does may do so incidentally, and in cases like the Broadway productions of ANGELS IN AMERICA, RENT and HAMILTON, deliberately. Continue reading “Rhapsody in Blue Eyeliner: Taylor Mac’s ‘A 24-Decade History of Popular Music’”
Thomas and Sally at Marin Theatre Company opened October 3rd, preceded by a lot of controversy, and dredged up painful conversations about consent, slavery, and falsified history. The risqué marketing art (pictured above), was the initial catalyst for this conversation, with many noting Sally depicted with a wry smile in seemingly full makeup in contrast with Jefferson’s sober historical portrait. That, coupled with the controversial subject matter and playwright Thomas Bradshaw at the helm, caught the public’s eye. Continue reading “‘Thomas and Sally’ at Marin Theatre Company Questions Victims and Consent”
Grandeur, a play by Han Ong produced by Magic Theatre in San Francisco, is an intimate play about a larger than life performer, Gil Scott-Heron. A black writer, poet, performer and political activist, Scott- Heron is famous for being the “Godfather of Rap”. His words and his songs have been sampled over and over, by Salt-N-Pepa, Kanye, Common, Kendrick Lamar, Drake, Rihanna and that’s only the tip of the iceberg. His influence on rap and hip hop as as artforms and as tools of political expression cannot be overstated. This play takes place in a single afternoon after his final album release I’m New Here, 40 years after his heyday, and many years into a crippling crack addiction. Grandeur is playwright Han Ong’s return to the stage after a sixteen-year absence. One of youngest recipients of the MacArthur Genius Grant,his talent shines through in this nimble and absorbing play. It’s a tour de force for Carl Lumbly who plays Gil Scott-Heron with a sharpness and a humor that stings and entertains. And yet, fourteen months ago when I was a member of the Magic Theatre Literary committee, I read the play and had strong reservations. Continue reading “Gil Scott-Heron’s “Grandeur” is Eclipsed by Addiction”