offoffBway.com

Exxon. Record profits. Fuckwads.

You know what, NYU? Stop knocking down buildings. What possible reason would you have for re-doing the Provicetown Playhouse in the Village? It’s a historical site. Leave it the hell alone.

There’s a joke to be made here but I don’t know what it is yet. Well, I do. But it’s mean. It has to do with Mandy’s bizarre past behavior. Anyway, he’s doing the Shakespeare play at CSC. (source: BroadwayWorld)

Review of Bridge Over Land

A Triptych written and directed by Gilbert Girion

By Stefan Matthew

Through May 10

Click here for tickets

People come to art events with their own idiosyncratic references, associations, semblances in order to make meaning of the soon to be unraveled spectacle. People come to death events and such events’ transference to realized and unrealized acts of intimacy with the same laundry list (peep actor Josh Liveright as Math Professor Michael in the third installment “Number Land” and his inability to move his feet “glued” to a spot on his ex-student’s lawn). I came with my own list anticipating a work on mourning and melancholia; specifically, the depiction of hell in Hieronymus Bosch’s Millennium Triptych painted in the 1500’s and Amiri Baraka’s explanation of the modal insistence and pointillism of Miles Davis’s 1959 recording Kind of Blue.

Brecht once said, “I’m writing this down because I like precision” so let me go into a bit more detail.

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Review of Every Girl Gets Her Man

Written By Emma Sheanshang

Directed By Michael Melamedoff

By Stefan Matthew

Despite Jouissance Theater’s program-notes proviso that “there is no ‘outside’ to the text,” during my viewing last Sunday of this highly entertaining, visually enthralling glimpse into the dating lives of five beautiful New York women, my mind ventured outside. To Germany of all places. One of the aphoristic, didactic Geschicten (stories) in German Marxist playwright Bertolt Brecht’s collection—Stories of Mr. Keuner fits right at home with this charming dramatic exposition on the absurdity of dating in New York City. It’s about ideal types, ideal objects of desire, painterly objects of desire. I couldn’t help but think of this fragment while watching the cast execute perfect dialogue to discuss the travails of Margot and her mercurial, never on stage, painter boyfriend Tristan. (Brief aside and admission—Sarah Wilson, who plays Margot in the production beats every crush I have ever entertained including Lisa Bonet, Cristina Ricci, Alyssa Milano, and Punky Brewster). Brecht:

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Attention aspiring writers: You have more time to get your words in to the Midtown International Theatre Festival. Read on:
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If you’ve ever wondered about doing commercials and how much bank you can make, Show Business Weekly has some answers for you. One guy has done over 2800 commercials. That’s a lot of pretending you like some stupid product.

Off Broadway Belasco Ken Davenport has been named one of “40 under 40″ by Crain’s NY Business. It’s nice to see someone from theater, much less off-Broadway theater, be included in a grouping like this. Congrats, dude!

OK, so we’re back to yell at you about theater and other entertainment crappola.
Part of the reason for the hiatus was the fact that we get an insane amount of comments that are spam. Such as this one:

Name: Anonymous | URI: http://google.com | IP: [deleted] | Date: February 18, 2007

Google…

Google is the best search engine…

Why the hell would Google be spamming our site? We’re not saying it is Google themselves, but there’s no other link in the spammy post. So again, we ask, what the hell?
Anyway, onwards and upwards.

(Image from here)
At least give the producer points for honesty:

The new musical, which began previews July 5, has closed. A press statement issued Aug. 13 reads, “Todd Ellis, the producer of Idol: The Musical, has chosen to close the show due to a lack of advance ticket sales, a lack of positive feedback from audience members and critics, and a lack of sustainable financial resources.”

Translation: NOBODY CARED, SO WE DECIDED TO STOP TORTURING OURSELVES AND THE CAST.

Source: Playbill.com