Dana H.
O’Connell is nothing less than astonishing. Long-form lip-sync is not new—one thinks of Bradford Louryk’s Christine Jorgensen Reveals, Lypsinka’s The Passion of the Crawford, much of the Wooster Group’s oeuvre—but I don’t think I’ve ever seen it done quite so unshowily. This is a performance of virtuoso naturalism, radiant with inner life; the technique is so perfect that it disappears.
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‘Dana H’: In Her Own Voice
There’s something sinister about a motel room. I think of buzzing fluorescent lights, the lingering scent of tobacco on every surface, nondescript paintings over nondescript wallpapers, and faint conversations from the next room. I’ve got vivid memories of those details, all of which could’ve been from an actual stay in a motel somewhere along a […]
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‘The Lehman Trilogy’: Soulless and Expensive Children’s Theatre for Adults
Soulless and expensive―that’s the best way to describe the Broadway debut of The Lehman Trilogy at the David T. Nederlander Theatre. But then, what else should one expect from a 3 hour and 15-minute long theatrical-ish spectacle devoted to the history of one of the world’s largest financial firms? Es Devlin’s austere corporate office design […]
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