The Brooklyn Rail

June 5, 2019

Blood Sacrifice: Adolescence, Borderlands, and Love in Julia Jarcho’s Pathetic

Pathetic is about misogyny and its devastations. But it’s also about fifteen-year-old girls performing ritual sacrifices to the Goddess of Love, speaking in rigorously constructed hexameter, eating Tater Tots, and seducing their creative writing teacher, Mister Goader, in the desert outside El Paso, Texas. Racine’s original drama positions Phèdre opposite her stepson Hippolytus, for whom she’s been cursed to feel all-consuming lust. This passion, both unwanted and unrequited, grows more ravenous when circulating rumors report that Phèdre’s husband, the adventuring king Theseus, has died, leaving her free to remarry. Phèdre’s scheming maid Oenone convinces the queen to confess her love to the horrified Hippolytus, who is himself in the throes of passion for the age-appropriate—but politically controversial—princess Aricia. (Of the five characters mentioned above, three end up dead.) Pathetic features multiple kinds of Phèdres: fifteen-year-old Consuelo, who plays Racine’s queen in a high-school French class production of the play; Consuelo’s mother Rosario, who flirts with her daughter’s male classmates; and Consuelo’s friend Clara, embroiled in an affair with Mister Goader. And every once in a while, the goddess Venus herself appears onstage, hungry for blood sacrifice.

The Brooklyn Rail

June 4, 2019

Bewitching Stagecraft and Competing Objects

When Jonathan González first emerges from the stage curtains, dragging an ominous, glowing spotlight, only his boots are illuminated. We do not immediately see González’s body, beyond his feet, but we can make out his figure periodically reaching into the light, expanding his stance, and genuflecting towards the spotlight in what looks like prayer. In this dynamic sequel performance to the installation Lucifer Landing I at MoMA PS1 a few weeks prior, the artist’s solo continues to explore alternative modes of living, post-colonialism, and survival.

The New York Times

May 30, 2019

13 Plays and Musicals to Go to in N.Y.C. This Weekend

‘PATHETIC’ at Abrons Arts Center (performances start on June 5). Racine’s “Phèdre,” a classical tragedy about a woman cursed with a catastrophic lust for her stepson, gets a makeover. Julia Jarcho’s new play for Minor Theater, designed by Ásta Bennie Hostetter, looks at the work through a prism of teen-girl high drama. The cast includes Linda Mancini, Jennifer Seastone and Ben Jalosa Williams.

The New York Times

April 25, 2019

10 Dance Performances to See in N.Y.C. This Weekend

JONATHAN GONZÁLEZ at Abrons Arts Center (May 2-4, 8 p.m.). Last week at MoMA PS1, González invited visitors to enter its geodesic dome, one by one, to contemplate larger societal questions of sustainable living and individual ones about identity. That work was “Lucifer Landing I,” and this week, González continues the conversation at Abrons with “Lucifer Landing II,” which also features a geodesic dome. In this iteration, which González calls an opera, he further explores modern blackness, public housing and human-object intersections by drawing from influences as varied as the futurist Buckminster Fuller and the activist collective CHARAS. González is the sole performer, though he is accompanied by a number of live musicians.

The New York Times

April 19, 2019

5 Dance Performances to See this Weekend

Jonathan González: Lucifer Landing I at MoMA PS1

Broadway World

April 15, 2019

Minor Theater Returns To Abrons Arts Center In June With World Premiere Of PATHETIC

Abrons Arts Center presents the world premiere of Minor Theater's PATHETIC, a teen-drama riff on Racine's Phèdre. PATHETIC marks the much- anticipated return of Minor Theater to Abrons Arts Center after 2017's sold-out horror hit, THE TERRIFYING. OBIE Award-winning playwright Julia Jarcho directs this take on the classic tragedy of female desire. Tickets are available now for the production which will run from June 5th-23rd in the Abrons Arts Center (466 Grand Street, Manhattan).

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