New Downtown Now: An Anthology Of New Theater From Downtown by Mac Wellman, Young Jean Lee

By Mac Wellman, Young Jean Lee

At a time while such a lot severe drama being written and produced for the yank level aspires purely to mainstream reputation and high-toned mediocrity, an cutting edge new iteration of playwrights dependent in big apple urban has emerged, crafting works that problem and undermine the normal constitution, language, and characterization of industrial theater whereas rejecting outmoded notions of the avant-garde. New Downtown Now brings jointly ten new works that exemplify the playfulness, pleasure, and chances of the theater. characterised through fragmenting constitution, hypnotic rhythms, kaleido-scopic imagery, unpredictable characters, and lyrical language, those performs resemble puzzles from which the writers are teasing revelations. even though disparate in material and elegance, with characters starting from a sushi chef to a soldier and settings from a taxicab to a stay tv broadcast, those hugely unique performs proportion a dedication to formal experimentation that locations them past the mental clichés of the bulk and the chilly condescension of postmodernism. The anthology contains meantime via Barbara Cassidy; Tragedy: a tragedy by means of Will Eno; 9 Come by way of Elana Greenfield; Shufu-Sachiko and Enoshima Island through Madelyn Kent; The attraction through younger Jean Lee; The Vomit speak of Ghosts via Kevin Oakes; Ajax (por no one) by way of Alice Tuan; Apparition, an uneasy play of the underknown by way of Anne Washburn; Demon child through Erin Courtney. Mac Wellman is the writer of diverse performs and the recipient of 3 Obie awards, so much lately in 2003 for lifetime fulfillment. he's professor of playwriting at Brooklyn collage. younger Jean Lee is a playwright and director, and member of the Obie award-winning corporation 13P. Jeffrey M. Jones is a playwright and curator of the Obie award-winning Little Theater at Tonic in manhattan.

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Example text

KIN: Maybe. TAM: Oh. I wouldn’t. KIN: Well, yeah, you’re a different type. TAM: I guess some people would. They might feel sad that here she was fifty years old and never sold one painting. KIN: They might. How much they pay? TAM: I heard two hundred, but I don’t know for sure. KIN: Pretty good. TAM: I once got paid two hundred for modeling a pair of boots. KIN: What kind? TAM: Cowboy. Red cowboy boots. With fishnet stockings. KIN: I never modeled anything. It must be a fun job. TAM: It’s painful.

TAM: I’ll make a bet with you that Ray comes out. 29 Int er i m KIN: How much? TAM: Twenty. KIN: Twenty. You want to bet twenty that Ray will be out here today when I specifically told you there is no way he’s coming. TAM: I have a feeling he is. KIN: You want to throw away your money—fine. TAM: We’ll see who’s throwing what away. KIN: Okay, you’re on, my man. TAM: A’ight. Lights down. KIN and TAM gone. JOYA looking out the window with wine. JIM enters and joins her. She is as stoned as she was before.

That’s what Kin says, and I believe him. I think I was a loser until I met him. Now people think I’m a good splicer. It’s amazing. I owe everything to Kin. However, it was different before I learned. 23 Int er i m ALMA comes out with a Vogue magazine, hides it somewhere onstage. Of course it is not really hidden because there is next to nothing onstage. She exits, runs into JOYA coming out. JOYA kisses her on the lips. ALMA leaves; JOYA drinks a glass of wine and lights a cigarette, sits on a stool and looks out the window.

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