During the Holocaust, the atrocities of the Nazi regime forced countless Jewish families and individuals into hiding. Though they were not interned in concentration camps, these stowaways were subjected to another, silent, reign of terror—in which every creak and cough could result in discovery, detainment, and almost certain death. Thus, the scene is set for The Hidden Ones, an immersive theater production that brings audiences into the secret hiding place of two families at the end of World War II. Even though the experience lasts just a little over an hour and plays out within the confines of a small room, The Hidden Ones is artistic proof that less is often more—especially in immersive theater.
Harry Houdini is arguably the most famous magician of all time, but the circumstances around his death remain suspiciously murky. Did he truly die suddenly of appendicitis, or were there more malevolent forces afoot? Cynthia von Buhler’s The Girl Who Handcuffed Houdini combines murder mystery, film noir, and comic book genres to create a genuinely fun immersive theater experience wherein audiences can explore the mysteries surrounding Houdini’s death.
Ars Nova’s KPOP begins with a chorus of glittering young Korean pop performers belting the lyrics “the future’s standing right in front of you.” Indeed, the purported mission of the play’s fictional management enterprise, JTM Entertainment, is to bring K-Pop to American audiences, and the production delivers K-Pop-styled numbers in droves.
Plenty of New Yorkers are familiar with plays performed in parks, bars, or museums. But a play in a pool? This is Not a Theatre Company’s Pool Play 2.0 is just that, taking place in an indoor swimming pool at Waterside Plaza Swim and Health Club (it should be noted that This is Not a Theatre Company is known for its experimental approaches to performance space). Each audience member receives a poncho upon entering the warm, chlorine-infused pool space, and is invited to pick any bath mat as a seat; at the pool’s edge, the audience's feet dangle into the water. The uniqueness of Pool Play 2.0 does not end with its nontraditional performance space, however. The play's text, its staging, and the committed actors collaborate to provide a fun yet thought-provoking treatment of something nearly everyone has experienced: a day at the pool.
The Fourth Street Theater is currently unrecognizable, as the theater company known as Semiotic Root has transformed the space into an intimate storytelling café—the sort found in North Africa. A patchwork of Persian carpets covers every inch of the floor, and hanging lanterns cast a warm glow across the carved wooden tables and plush floor cushions. The scent of strong coffee wafts through the air, and audience members are invited to help themselves to a cup. The setting is for playwright Betty Shamieh’s The Strangest, an absurdist murder mystery inspired by the unnamed Arab killed in Albert Camus’ classic novel, The Stranger, which is an emblem of mid-20th-century French existentialism.
The Weather Underground Organization, also know as the Weathermen, was a grassroots collective of white radical leftists who subscribed to a militant, anti-capitalist ideology. Splintering off from a larger organization called Students for Democratic Society (SDS) in the late 1960s, the Weather Underground believed in violence as a form of protest. Home/Sick is The Assembly’s theatrical reimagining of the Weather Underground’s founding, development, and eventual disbandment. Written collectively by members of The Assembly, Home/Sick is a dynamic and thorough piece of devised theater that highlights the complex philosophies, political struggles, and practical idiosyncrasies behind the Weather Underground’s bygone revolution.
With a whole host of traditional plays and musicals available to choose from, it is sometimes refreshing when theater artists in New York City experiment with form. Creator and producer Brett Epstein’s Rule of 7x7 is just that: an experiment in playwriting wherein seven playwrights each declare a “rule” that must be incorporated into each play. These rules range from a word, a line, or a specific stage direction. To intensify the process, the artists involved have just one month to mount these short plays from conception to performance.
As one of Shakespeare’s most famed tragedies, Othello has seen quite a number of adaptations over the years. The artistic duo Q Brothers take their stab at adapting this timeless play with Othello: The Remix, which discards Shakespeare’s original iambic pentameter in favor of modern rhyme set to rap music. In the spirit of Hamilton and other sung-through and hip-hop-infused musicals, Othello: The Remix is 80 minutes of fast-paced lyricism—spun live by cast member DJ Supernova and with hardly a breath in between. While there are a few questionable production choices, the massive amount of creative energy and impressive talent on display in Othello: The Remix make it hard to resist.
Founded in 2006 by director and choreographer Austin McCormick, Company XIV has developed a signature fusion of theater, classical and modern dance, opera, drag, circus, live music, burlesque, and performance art. The title of its latest creation, Paris, is a double entendre of sorts—referring at once to the beloved City of Light as well as the legendary prince of Troy. Indeed, Paris unites Grecian gods and goddesses with Parisian flâneurs and can-can girls, resulting in an indulgent, adults-only revue of sublime talent.
With the peeling walls of the Irondale Center (a former church) as a fitting backdrop, Paris interweaves elements of French bohemia into the Greek myth “The Judgment of Paris.” In this legend, the titular character receives a golden apple from the gods and is charged to award it to the fairest goddess. He chooses Venus, who reciprocates the award with her own, the famed beauty Helen of Troy—thereby triggering the Trojan War. This myth provides a suitable structure for Paris, but the show’s value lies not in its plot but in the variety of performances encountered by Paris (Jakob Karr) on his quest to rid himself of his golden apple.
From his tête-à-tête with Juno (Randall Scotting) to his final rendezvous with Helen (Lea Helle), Karr is stunning as Paris in every context. His duet with Mercury, played by Todd Hanebrink, is especially touching—featuring a series of lifts executed with lightness, yet also with a grounded athleticism. In his visit to the final goddess, Venus, Karr takes a back seat to Storm Marrero's house-filling vocals. Although Marrero, a woman of color, diversifies the show's cast, it is as a singer. Her curvaceous Venus stands in contrast to the dancers (inexplicably, too, her character bears the Roman name for the goddess, rather than Aphrodite). One hopes that the company's pursuit of diversity will eventually spread to the dancers.
Though many modern burlesque companies focus on the female body, Company XIV’s treatment of gender is slightly more fluid. As the dual character Zeus/Fifi, Charlotte Bydwell literally embodies this fluidity as she switches from male god to female coquette. Her costume, designed by Zane Pihlstrom, is half suit and half ball gown, so that Bydwell appears as Zeus when facing stage right and Fifi when facing stage left. This visual gag is delightful at first, but becomes tired by the end of the show. Overall, however, Pihlstrom’s costumes are breathtaking in their dynamism—from a two-tone reversible sequin dress for Venus to the ensemble’s assortment of spangled codpieces.
Jeanette Yew's ingenious lighting design illuminates the gorgeous clothing, implementing an array of sources such as sparkling chandeliers, exposed-bulb footlights, and most notably, a vintage Hollywood director’s’ spotlight on wheels that provides the show’s final iconic vignette.
There are many elements that make this show special and worth seeing, but perhaps its most universal appeal is that—just like the many glimmering rhinestones on the costumes—Paris shines light on a great many facets of human sexuality. There are, of course, moments of tawdry thrusting and heaving piles of quaking bodies; yet there are, too, silhouettes of lovers that steal one’s breath away, and even quieter moments of solitude and fear that expose the vulnerabilities integral to human sexuality. In Paris, sex is funny, scary, beautiful, sad, and, ultimately, a yearning mystery.
Paris runs through Nov. 12 at the Irondale Center (85 South Oxford St. between Fulton Street and Lafayette Avenue in Brooklyn). The show, which contains partial nudity, is open to those 16 and over. Performances are at 8 p.m. Tuesday through Saturday. Tickets start at $25. To book seats, couches or VIP tickets, call (866) 811-4111 or visit www.companyxiv.com.