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The New Yorker September 27, 2010
…words of it, and the action unfolds solely within the shabby office space. Gradually, other workers appear. As the narrator reads the novel’s fourth paragraph-“Conduct may be founded on the hard rock of the wet…
Die Welt September 10, 1998
…of buying religious booklets from a sales representative. And a serial murderess is justifying herself: she did it all in self-defense. Paul’s wiggling feet make the most prominent appearance. They are all that’s visible when…
Performing Arts Journal May 1998
…with its aggressively sculptural set by Jim Findlay, brings together dance, literature, video, and installation to challenge the linear mind. The work may be appreciated on many levels (especially the performance of Kate Valk as…
TheatreForum Issue 23
…and the personas they presented to their audience. Artifice and, more importantly, the actor’s presence were foregrounded on many levels. Total Fictional Lie caromed back and forth from dance to appropriated documentary dialogue, eschewing text-driven…
Die Welt September 10, 1998
…Füße. Sie sind alles, was zu sehen ist, während er in New York eine vollkommen sinnfreie Rede hält und dafür frenetischen Applaus bekommt. Und wahrlich: Die Füße von Susie Sokol sind komischer als vieles, was…
Walker Art Center interview June 8, 2006
…ourselves as in competition with the movie versions, or that we were even approaching the same problem. “How do we stage the story of ‘The Great Gatsby’?” wasn’t exactly what we started with. PB: There’s…
The Point Magazine Spring 2009
…evoke the mansions and deadly autos of West Egg. The company marshals a remarkable blend of improvisatory, lo-fi wit and artistic discipline to make the piece consistently engrossing; despite its length, Gatz hardly tests its…
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