All posts tagged: Faye Driscoll

Claire Cunningham and Jess Curtis, The Way You Look (at me) Tonight. Photo: Robbie Sweeny.

“Radical Hospitality”:
Relaxed Performances on the MCA Stage

Chair or floor cushion? I decided to make myself comfortable in a chair on the corner of the stage—in the midst of the action, but removed enough to observe much of what was happening at the edges of the space. This performance of Claire Cunningham & Jess Curtis’ The Way You Look (at me) Tonight was certainly relaxed. Escorted to stage level, the audience was invited to sit directly on the stage in clusters of chairs and cushions, and prompted to make themselves at home, even remove their heavy winter boots if they were so inclined. After explaining what to expect, Cunningham and Curtis—acclaimed international theatre and dance artists—set into motion a “collage of dance, song, and text.” For roughly 100 minutes, the audience was treated to a show pendulating between humorous yet poignant moments and more classical performance segments of dance and song. (You can see a clip here). Though classical might be the wrong word, as Cunningham and Curtis’ work itself questions what we consider classic or traditional, playing with romantic ideals, gender …

Interpreting Faye Driscoll’s “Play”: The Art of Audio Description and ASL Interpretation

None of the typical rules of a play apply here. Then again, when you come to a performance at the Museum of Contemporary Art Chicago, you aren’t really expecting typical, are you? Play is the second performance in a series called Thank You For Coming, created by Bessie Award–winning director and choreographer, Faye Driscoll. This performance “uses the ritual of storytelling to explore our reliance on stories to relate to one another and form identities as individuals and citizens.” What begins as a communal audience-participation on stage quickly delves into a parody of an absurd theater act. Employing multiple meanings of the term “play,” the cast performs a drama but an allowance for improvisation leaves room for the actors to engage in the more fanciful version of “play” as well. Play is also atypical in its breaking of the fourth wall. Not only does a sound engineer remain on stage, occasionally being called into the action, but Driscoll herself joins the cast. At times she is grabbing props or directing the actors, as if it were a rehearsal …