2018 productions directed by David Kaplan included Garcia Lorca’s Doña Rosita and Shakespeare’s The Tragedie of Anthonie, and Cleopatra. Doña Rosita Lubbock, Texas and Provincetown Above: June 2018. Rosita (Malana Wilson) in Lubbock, Texas. Below: Anna…
“I prefer a play to be not a noose but a net with fairly wide meshes. So many of its instants of revelation are wayward flashes, not part of the plan of an author but…
The challenge of live performance during the pandemic offered an opportunity for an aesthetic of long distances between the actors and the audience. Intimate sound was delivered by FM radio: gasps of breath, the spray…
Touring from marketplaces in Ghana to America, Kilroy maintains his innocence in a grasping world. The text by Tennessee Williams performed by Abibigroma.
Plays about death and longing, written by Tennessee Williams and performed with live music in a St. Louis mansion.
As refuge from the battle of life, in his plays Tennessee Williams offered men and women rented beds, often in the rooms of a boarding-house. Four short plays set by Williams in rented rooms in St. Louis, performed in the rooms of the historic Stockton House in St. Louis, under the direction of David Kaplan with Brian Hohlfeld staging “The Pink Bedroom.”
三個高女人 Edward Albee’s meditation on aging and identity at the Hong Kong Repertory Theater. Performed in Cantonese.
In Mongolia audiences laughed as the maids tried to poison their mistress. The descendants of Genghis Khan understand the glamour of infamy.
In the photograph above the maids wait for their over-friendly mistress to drink a poisoned cup of tea. “It’s such a pleasure making people happy,” Madame croons. The cruel humor of the play appealed to Mongolians, who understood the quest for proud infamy. Women played all three roles.
A Sufi interpretation of Shakespeare’s text staged in Uzbekistan in the Uzbek language.
Uzbekistan is in Central Asia, north of Afghanistan. The Uzbeks are the descendants of Chinggis Khan who converted to Islam in the 1300’s. In the deserts of this country, the Mongolian shaman was absorbed into the role of the dervish, and the shaman’s ecstatic flight transformed to a whirling dance: the way of the Sufi.