The Other World

SILENCE = DEATH

Review of The Other World, Yale Cabaret

The Other World, written by Yale School of Drama playwright Charles O’Malley, returns us to the heart of the Aids crisis. A slice of the life of 1980s’ New York artist David Wojnarowicz, adapted from his memoir Close to the Knives, the play dramatizes key events in Wojnarowicz’s artistic life to reanimate the past in episodic scenes presented with a sure hand by first-time director Baize Buzan. Less is more in the spare set, complete with particle-board flooring, a sheet draped casually to serve as a screen for the artist’s overhead projections—a bit of authentic technology that does a Proustian madeleine number on aging memories—and a general feel of the open spaces of those unrenovated SoHo warehouses. In other words, the play is something of a time machine and I, for one, was glad to see a contemporary brought to life so well.

David (Jos  é   Espinosa)  (photo:; Elli Green)

David (José Espinosa) (photo:; Elli Green)

The play’s David (José Espinosa) is an introspective figure whose musings have both great immediacy and fascinating detachment. The loss of David’s lover, the photographer Peter Hujar, to Aids is narrated rather than presented, with further details furnished by Marion (Louisa Jacobson), David’s friend and agent. It’s to the credit of all involved that Peter’s demise comes across with both poignancy and inevitability. Comments on a dying-man’s wish of a visit to the shore lets us intuit the frayed nerves, the sensitive psyches, and, more than anything, the unspeakable specter of death coming to the young and talented. By letting us hear how David copes, O’Malley keeps our focus both on the events and an artist’s access to them. Wojnarowicz, who worked in various media, took pictures and video of his lover’s corpse, an act very much in accord with their shared aesthetic. As David, Espinosa presents a serious artist whose art is very much a confrontation with existence, a battle for personal worth in a damaged world.

Friend (Michael Breslin),   David (Jos  é   Espinosa)  (photo: Elli Green)

Friend (Michael Breslin), David (José Espinosa)  (photo: Elli Green)

A visit from a Friend (played with uneasy panache by Michael Breslin) lets us see how out of touch David can be, even while trying to get in touch with his own feelings. The chain-smoking, while a minor detail, speaks volumes for the era these street-based artists inhabit. The Friend’s grasp of his own doomed chances prefigures Wojnarowicz’s fate, but also re-enacts, in miniature, the risky collectivity of gays at the time. The “who can know and who can’t” aspect of their exchange is spot-on. Eventually we see David overcome his morose withdrawal and begin to take steps toward activism, his anger and heartbreak overtaking even his “must-get-away from New York” trip through the Southwest.

David (Jos  é   Espinosa) ,  Marion (Louisa Jacobson)  (photo: Elli Green)

David (José Espinosa), Marion (Louisa Jacobson) (photo: Elli Green)

That trip—in a segment called “on the road”—gives the play some of its best scenes, as David breaks out of his silence to confide an early sexual exploit in a movie theater and then to rail at Marion for being a confidante who doesn’t confide enough herself. As played with canny conviction by Louisa Jacobsen, Marion is an interesting character with her own conflicts. Her faith in David, after working with him for five years, is being tried by his state of mourning and his growing interest in the politics of the plague. Their exchanges do much to give us a sense of how they see themselves and each other, and provide a context of youth and exploration that, if not dated, is at least a reminder of how Aids changed so much and cost so many.

Without making heavy-handed parallels with the present, O’Malley’s play reanimates a specific era of repression to remind us of how hard-won rights were and admission to the status quo has been, and to indicate that getting a hearing in government is no easy matter. It’s not that a trip back in time is going to make Trump look better, but it does serve to highlight how shitty conservative governments can be to anyone outside their ideology. Marches and protest might make for good political theater but, as Marion exhorts David, an artist can make larger and perhaps more telling statements. And so is born an artist-activist, aghast at the horrors made normative by American indifference.

Born 100 years after his sometime artistic alter-ego Arthur Rimbaud, Wojnarowicz, like Rimbaud, died at 37. Both continue to live on because both have something to say to the “accursed” on the outside or margins of the mainstream. If “silence = death,” one of the slogans of Aids activism popularized by ACT UP, it’s also the case that death, for visionary artists like Wojnarowicz, doesn’t equal silence.

David (Jos  é   Espinosa)   (photo: Elli Green)

David (José Espinosa)  (photo: Elli Green)

 

The Other World
By Charles O’Malley
Adapted from Close to the Knives: A Memoir of Disintegration by David Wojnarowicz
Directed by Baize Buzan

Production Dramaturg: Kari Olmon; Scenic Designer: Paul Rasmussen; Costume Designer: Sophia Choi; Lighting Designer: Krista Smith; Sound Designer: Andrew Rovner; Projections Designers: Yana Birÿkova, Michael Commendatore; Scenic Advisor: Ashley Flowers; Stage Manager: Cate Worthington; Producer: Caitlin Crombleholme

Cast: Michael Breslin, José Espinosa, Louisa Jacobson

 

Yale Cabaret
April 6-8, 2017

What good is sitting all alone in your room?

Preview, Yale Cabaret Season 49, Part II

Generally speaking, February—in New Haven at least—isn’t an easy month to like. The good news is that the Yale Cabaret will be back, as of the 2nd, and there won’t be a “dark week” the entire month. And that means you should schedule accordingly: every weekend from February 2nd through March 2nd there will be a new offering, then, in late March and into April, a final trio of shows, plus the celebrated annual Drag Show at the very end of March.

Only two shows will feature pre-existing plays, which means that the bulk of what’s coming has never been shown or seen before. It’s all new and it’s all happening now, this moment, this season, this town. If the fact that the game has changed hasn’t been visited upon you by circumstantial evidence in and around the country, check out the Cab’s new website and new lobby. Looking forward to the 50th anniversary season of the Yale Cabaret—which began in the 1967-68 school year—the new design incorporates elements of the original poster for the Cabaret coffeehouse back in the day. Meanwhile, Cab 49 is under the same management as in the fall—Artistic Directors, Davina Moss, Kevin Hourigan, Ashley Chang, and Managing Director Steven Koernig—but has got a new lease on life, and a new logo.

First up, Cab 11: The Meal: Dramatic Essays on Cannibalism, is a contemporary Brazilian play by Newton Moreno that recently appeared in Theater magazine in a translation by Elizabeth Jackson. Directed by Stephanie Machado and Maria Inês Marques, the play, say the Cab crew, is “weird and gorgeous and grotesque.” It features three tales of cannibalism, in a sense both “metaphorically and real,” with each of the three scenes—“all love stories, in a way”—giving a different spin to the question of appropriation. The fact of cannibalism as an aspect of certain cultures is involved, as well as the ways in which we feed upon one another emotionally and, perhaps, actually. Each segment twists the possible meanings of ingesting your own species, from the erotic to the exploitative, the transactional to the colonial. February 2-4

Cab 12 features the return of The Satellite Festival, a three-night bundling of various shows in a trio of locations that made its debut in Cabaret season 48. Making use of the Cabaret space, the studio space upstairs in the same building at 217 Park, and the African-American cultural center across the walk-space from the Cab, the Festival is an opportunity for short works and works that highlight unusual technical or musical components, such as virtual reality and live music, or dance and video, to have an audience. There will be two “main events” each night at 7:45 and 10:45, interspersed with other show times to make for 15 events in all, but all able to be viewed on a single pass. There will be participants from other graduate schools at Yale, such as Music and Art, and events like a story slam, a concert for bass drum, a one-act family drama, a take-off on reality TV, a cross between Bluebeard and The Bachelorette with audience participation, and a collage of one-woman shows, among many other events. February 9-11

With a certain timeliness, Cab 13 brings us tales of the French Resistance. Marion Aubert’s Débâcles, translated by Erik Butler and Kimberly Jannarone, is, in keeping with most of the productions directed by former Summer Cabaret Co-Artistic Director, Elizabeth Dinkova, a “dark farce.” The translation was given a staging at the Lark in New York, but this will be the play’s first full American premiere. “Fast-paced,” “absurd,” “intense,” the play takes on the French effort to resist fascism when the country had officially capitulated to Nazi Germany. Sometimes real patriotism is a form of treason, and hidden agendas rule the day. Which is worse, double-think or a double-cross? February 16-18

The Quonsets brings together two new plays by Yale School of Drama playwrights, Alex Lubischer and Majkin Holmquist, for Cab 14. Quonset huts are familiar in farming communities as low-cost, portable, temporary housing used during harvest time. Lubischer, a first-year at YSD, and Holmquist, a second-year, realizing they both hail from “flyover States” of the Midwest, decided that each would write a play that would go together with the other, beginning in Kansas and moving to Nebraska, following the harvest. The two plays share a character, a certain “hyper naturalism,” and, of course, the huts. First-year director Aneesha Kudtarkar brings us this unusual visit to a Red-State America “foreign” to many ensconced in embattled Blue States. February 23-25

The uninterrupted streak of weekly shows ends with Cab 15, Xander Xyst, Dragon: 1, a new work by first-year playwright Jeremy O. Harris, directed by third-year director, and former Summer Cabaret Co-Artistic Director, Jesse Rasmussen. Xander is a porn star and “digital celebrity” obsessed with his identity on the internet, and on a first date with Michael, who he met on one of the online date-enabling sites; meanwhile, Xander’s brother Matt, a musician, is trying to find romance with Lena, a girl he just met. This “very contemporary” play, set in Los Angeles, explores the problems of love and intimacy in a world where virtual reality can be more compelling than face-to-face reality. March 2-4

After two dark weeks, the Cabaret returns with Cab 16: The Red Tent, a devised work proposed by first-year actress Sohina Sidhu, as a ritual performance investigating the cultural status of menstruation. Involving first-year actors and other women of color, the play’s title refers to the tradition in some cultures of isolating women during their menstrual period, a space the women mean to claim as their own. Using “poetry and music, movement and magic” the play, to use Audre Lorde’s words, shows “how to take our differences and make them strengths.” March 23-25

One night only, for three shows, the Yale School of Drama’s annual “School of Drag” show takes over the Cabaret. An increasingly hot ticket, the show features an unpredictable array of male and female cross-dressing, dance routines, lip-synching, and costumes to die for. Third-year actor Ricardo Dávila and third-year director Kevin Hourigan direct this fun and frolicsome affront to hetero-normativity. March 31

In April, the first show up is Cab 17, The Other World. Directed by third-year actor Baize Buzan, the play is an adaptation by playwright Charlie O’Malley of the memoir and artworks of queer artist/activist David Wojnarowicz who, in the Reagan era of rampant HIV/AIDS infections, deaths, and mourning, created art to raise awareness. Now, 25 years after his death, Wojnarowicz’s struggle to make art and life work together for social ends is again highly relevant. April 6-8

Cab 18, the final show of the season, is the rather balefully entitled Circling the Drain. Third-year costume designer Cole McCarty adapts the short story collection of that name by the late American author Amanda Davis, each focused on “women on the edge: falling out of love, falling into love, falling off a bridge,” and in many senses “dangling on a precipice.” A passion project, the show is, the Cab crew say, a “passionate and compelling” instance of “what we’re going for” in shaping the Cab’s season 49. April 20-22

Eighteen shows plus the Drag Show. Another packed season for stressful times. The welcoming ambiance of the Cab’s basement theater feels more important than ever, and the shows on offer will no doubt provoke, delight, consternate, and inspire. For info on season passes and individual tickets, consult the Cabaret’s website at cab49.org.

As ever, see you at the Cab!

Ashley Chang, Kevin Hourigan, Davina Moss, Steven Koernig

Ashley Chang, Kevin Hourigan, Davina Moss, Steven Koernig

 

Yale Cabaret 49, February-April, 2017