Lots of cute cute girls in this epic
wish there were 140 more characters?
hope there are more plays by this dude
Friday, March 20, 2009
REVIEW OF "TWITTER THEATER"
At the theater at St. John's U campus across the street from Thw World Trade Center ar in Award winning Off Broadway playwright's new work -- "twitter theater":Ian Ricahrd Barnesa, Annie Branson, Carmella Bloom, Peter Carlaftes, David DeCuir, Jon Derrick, Jessica deSalvo, Ylva Fink, Larry Gutmen, Karinna Maestre, Pierre O'Farrell, Nicole Perperas, Erinn Ruth, Luisa Sabella, & GeorgeTrahanis. A flashy ass Kat Georges collated Myers' crazy, chatty caserole.
Her direction seemed pointed, crisp & campy.
The evening begins with a clownish diabolical ring master George Trahanis preeping his head out a curtain. It is a play within a play within many twitters! The frame is a troup showing their stuff. At various times the barriers between illusion & reality blur. Time is inconsequential. We are cast into floating twitter world. Trahanis seems to lackdouble=edged theatricality that this rather intriguing character should be able to summon up.
The play has been distributed via internet to a multiude of bloggers & twitterers who have already read it ; commented. A Staten Island blogger calls Myers "St John's U's most famous playwright who shows us the new way of talkin." Forbes. com has a blogger babbling about "Myers being a Mega twitter multi-talented theater celeb." In London Rory Read's article "Twitter sucks & So do you" mentions Myers's paradxical feeling about twitter. "Myers takes on twitter," Rory's comments claim!
On various sites he play is described as a funny-sad digital drama," "a theater peice which captures the frenzy of tweeting..sassy." Myers is credited with conjuring a chirpy new play."
In a New York Times blog on "Is Social Networking Killing you?" Myers himself states that he fels "twitter is a new Now haiku citing Oscar Wilde's dictum--'those who fear the superficil are they, themselves, superficial."
Myers was a close associate of Tennessee Williams & is at work on a book about Edward Albee. He displays in his works "the distillation of dialogue---going to words' marrow." He offers extended tweeks via preoccupations, phobias, problems & passions of the various tweeters.
This tweeter play seems oddly akin to Tennessee Williams' most peculiar shorter odd plays (many of which have been just collected). Like Albee Myers craves the poetic--finding it Andy Warhol or John Waters-style in the most mediocre or mundane.
Whether intended or not the mob of twitter freaks behind each main speaker seem like a lost lack luster mass. Faces are inan imate, passive, non-emotional as they sink into chairs. These actors are onstage! Isn t this what they live for? They seem to be gifted at non-appearance, disapperaing into the back wall. One gal wisely wears a bright red dress. the atmosphere is barren Brecht butthese thespians are not magnetic. One girl chatters about makeover desires. Another forlorn actor (actually effective in forfeiting self pity) tells his twitter tale. They are followed by a blur of non-special pedestrian twitterers. Feeble physicalization & limited vocal range seem to hamper the projection of the words. Most need to have articulation work. Their 'star quality' is an inadequate contribution to the theater synthesis. It does not match the writing or direction. Kat keeps the pace on fire but the actors flatten these follies.
They lack warmth & compassion to make the volatile dramatic personae authentic. Their characterization seem to end when they stop speaking (ineffectively for the most part). They sink the plays down into their respective chairs.
I have reviewed many plays & many Myers plays for any years. The playersr are not in the league of Myers performers--James Gandolfini, MAria Bello, Christopher Meloni, Angelica Torn, JP Pitoc, Monte Zanca, Letivcia Ferrer, Marc Coppola, Michelle Durning, Micahel Raynor.
This bunch turns tour de forces into supernumeraries. Larry Gutman is effective as the father who survives the cyber bullying death of his child. Ilva Fink is compelling as a sick twitter woman. A Washington DC twitter woman is adequate. By play's end George Trahanis seems to have a seachange. His character (the Narrator) has some sort of twitter catharsis & he discovers the real reason for theater.He finally comesd alive.Resembling a commedia d'elle arte escapee,Peter Carlofksy pletely silently upstages runway -looking gals & guys who surround him. Pity the instant communication of these twitter bugslacks even the illusion of spontaneity &a immediacy of twitter which is a tiny mosaic of theater.Their feeble attempts at acting add little to Myers' Marvelously manic departure. Myers' collection of theater conversations & cavalcade of conscioueness is witty intellectual fare.
Her direction seemed pointed, crisp & campy.
The evening begins with a clownish diabolical ring master George Trahanis preeping his head out a curtain. It is a play within a play within many twitters! The frame is a troup showing their stuff. At various times the barriers between illusion & reality blur. Time is inconsequential. We are cast into floating twitter world. Trahanis seems to lackdouble=edged theatricality that this rather intriguing character should be able to summon up.
The play has been distributed via internet to a multiude of bloggers & twitterers who have already read it ; commented. A Staten Island blogger calls Myers "St John's U's most famous playwright who shows us the new way of talkin." Forbes. com has a blogger babbling about "Myers being a Mega twitter multi-talented theater celeb." In London Rory Read's article "Twitter sucks & So do you" mentions Myers's paradxical feeling about twitter. "Myers takes on twitter," Rory's comments claim!
On various sites he play is described as a funny-sad digital drama," "a theater peice which captures the frenzy of tweeting..sassy." Myers is credited with conjuring a chirpy new play."
In a New York Times blog on "Is Social Networking Killing you?" Myers himself states that he fels "twitter is a new Now haiku citing Oscar Wilde's dictum--'those who fear the superficil are they, themselves, superficial."
Myers was a close associate of Tennessee Williams & is at work on a book about Edward Albee. He displays in his works "the distillation of dialogue---going to words' marrow." He offers extended tweeks via preoccupations, phobias, problems & passions of the various tweeters.
This tweeter play seems oddly akin to Tennessee Williams' most peculiar shorter odd plays (many of which have been just collected). Like Albee Myers craves the poetic--finding it Andy Warhol or John Waters-style in the most mediocre or mundane.
Whether intended or not the mob of twitter freaks behind each main speaker seem like a lost lack luster mass. Faces are inan imate, passive, non-emotional as they sink into chairs. These actors are onstage! Isn t this what they live for? They seem to be gifted at non-appearance, disapperaing into the back wall. One gal wisely wears a bright red dress. the atmosphere is barren Brecht butthese thespians are not magnetic. One girl chatters about makeover desires. Another forlorn actor (actually effective in forfeiting self pity) tells his twitter tale. They are followed by a blur of non-special pedestrian twitterers. Feeble physicalization & limited vocal range seem to hamper the projection of the words. Most need to have articulation work. Their 'star quality' is an inadequate contribution to the theater synthesis. It does not match the writing or direction. Kat keeps the pace on fire but the actors flatten these follies.
They lack warmth & compassion to make the volatile dramatic personae authentic. Their characterization seem to end when they stop speaking (ineffectively for the most part). They sink the plays down into their respective chairs.
I have reviewed many plays & many Myers plays for any years. The playersr are not in the league of Myers performers--James Gandolfini, MAria Bello, Christopher Meloni, Angelica Torn, JP Pitoc, Monte Zanca, Letivcia Ferrer, Marc Coppola, Michelle Durning, Micahel Raynor.
This bunch turns tour de forces into supernumeraries. Larry Gutman is effective as the father who survives the cyber bullying death of his child. Ilva Fink is compelling as a sick twitter woman. A Washington DC twitter woman is adequate. By play's end George Trahanis seems to have a seachange. His character (the Narrator) has some sort of twitter catharsis & he discovers the real reason for theater.He finally comesd alive.Resembling a commedia d'elle arte escapee,Peter Carlofksy pletely silently upstages runway -looking gals & guys who surround him. Pity the instant communication of these twitter bugslacks even the illusion of spontaneity &a immediacy of twitter which is a tiny mosaic of theater.Their feeble attempts at acting add little to Myers' Marvelously manic departure. Myers' collection of theater conversations & cavalcade of conscioueness is witty intellectual fare.
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