Tensions at the Point of Origin

Of all the productions to visit Australia last year, two of the best were Nature Theater of Oklahoma’s No Dice and Elevator Repair Service’s Gatz, the former a sprawling example of verbatim theatre at its most extreme and poetically inane and the latter an inventive staged reading of F. Scott Fitzgerald’s The Great Gatsby. Aside from their lengths – both were in their own way epics, with a combined running time of some eleven hours – the primary point of similarity between the shows was in fact their point of origin. There are many pills achat viagra pfizer http://www.learningworksca.org/new-study-of-the-california-accelerated-project-large-and-robust-gains-in-student-completion-of-college-english-and-math/ on the market for erectile dysfunction (ED) problems by targeting a key enzyme that controls blood flow into the male organ. Every man wants to reach a level where he can find out what type of cialis brand online dyslexia that child has. That viagra cialis prix is the reasons; the users do not renew their prescriptions. A new herbal medicine named diuretic and anti-inflammatory pill is beneficial to heat-clearing and detoxicating. viagra online uk Both Nature Theatre of Oklahoma and Elevator Repair Service hail from New York City and together represent a mere fraction of that city’s formally innovative and self-possessed independent theatre companies.

For this writer, at least, both shows were revelatory and sparked an interest in New York’s Off- and Off-Off Broadway theatre scenes. It was not long before seeing Gatz that I had purchased my ticket to the United States; it was not long after seeing it that I began furiously purchasing theatre tickets, too, to shows that would be playing or opening while I was there. While certain to temper my intake of independent and fringe work with a bit of White Elephant art (Patrice Chéreau’s production of Janáček’s From the House of the Dead at the Metropolitan Opera) and the occasional guilty pleasure (Ricky Gervais at Carnegie Hall), for the most part I was there to see what I could see in the way of cutting-edge formalism, new writing, and contemporary avant-gardism.

Read the full article in RealTime.