Frank Episale is a doctoral student of Theatre at the Graduate Center of the City University of New York. He holds a BFA from New York University and an MA from the University of Hawaiʻi at Mānoa. This is his blog. He's pretty google-able, if you'd like to know more.

Thursday
04Mar2010

Extra Credit: Theatre History "Treasure Hunt"

This is my version of an assignment developed by my colleague Bethany Holmstrom, which she in turn borrowed from Heather Nathans. The idea is to get a sense of how rich in (theatre) history our city is, and to get some of our students out of their respective boroughs for a little exploration.

I'm very curious to see how many students decide to participate; I'd also be extremely interested in seeing the assignment adapted to other cities.

 

Extra Credit Opportunity: Treasure Hunts

You may undertake a maximum of five treasure hunts this semester, each worth one point of extra credit toward your final grade. These hunts involve finding some site of artifact related to theatre history, most (but not all) in Manhattan: some things are directly related to our studies this semester; others fall outside of the scope of this course but are otherwise related to theatre culture and history.. You must do two things to complete the hunt successfully:

1.  Take a photo (with yourself in it) by/with the treasure.

2.  Hand in a brief explanation (one page) per treasure as to how it relates to theatre history. This needs to be in YOUR OWN WORDS and you need to cite any sources (Web sites or otherwise) that you used to track down the treasure and/or find out its relevance to theatre and performance.


Happy hunting!

1.  A vase painting with the Greek god of theatre. Hint: it’s housed in a building on the east side of Central Park. And remember to turn your flash off for the photo!

2.  A theatre riot took place here in 1849.

3.  During digging to start construction on a federal office building in 1991, this burial site was discovered.

4.  Beginning in 1821, this was where African Americans could attend theatre and spend leisure time (though it didn’t last very long).

5.  If you’re willing to wait in line early on a summer morning, you just might get to see a free show at this famous outdoor theatre.

6.  You could see opera, theatre, performing arts students, modern architecture, and a performance archive all at this one site.

7.  This is the point where several streets met, and was New York’s most infamous neighborhood in the nineteenth century.

8.  This building once housed a café widely considered to be the first off-off-Broadway theatre.

9.  This theatre, founded in 1961 by Ellen Stewart, was one of the first off-off-Broadway venues and continues to host performances from around the world.

10.  The country's oldest continuously operated performing arts center was founded in 1861 in Brooklyn. While the original building burned to the ground, this larger, grander venue opened in 1908.

11.  This theatre, opened in 1916, introduced Susan Glaspell and Eugene O'Neill, among others, to the Little Theatre movement. It was recently the subject of controversy when the current owner of the property sought to "renovate" the space.

 12.  The building that houses this theatre was designed for the 1964 World Fair by famed  architect Philip Johnson.

 13.  This "gentleman's club," established in 1888 by prominent actor Edwin Booth along with such founding members as Mark Twain, did not admit women until 1989.

 14.  The theatre that once stood on this location became New York’s first theatre to be lit entirely by electricity.

 15.  In 1903, this theatre, which would become famous for innovations in lighting technology, opened with an inaugural production starring Ethel Barrymore.

Friday
26Feb2010

Greek To Me

This week's CUNY Advocate includes my reviews of Seoul Factory for the Performing Arts's Medea and Its Double and International Wow Company's Auto Da Fe, excerpted below.

[There are a few clumsy passages, I'm afraid; I found both of these shows tricky to write about and didn't give myself enough time to edit.]

 

The concept of Medea and Its Double is to split the title character literally into two parts: the (jealous) lover and the (loving) mother, thus physicalizing Medea’s internal struggle and making the narrative more about her anguish than her crimes. Director Hyoung-Taek Limb adapted the story from Euripides, but only kept a fraction of the original text. In keeping with his company’s mission, Limb and his cast incorporate elements of Viewpoints and Grotowski tech­niques (which he picked up while an MFA student at Columbia) as well as elements from “traditional” Korean forms rang ing from martial arts to p’ansori to masked forms like t’alch’um and ogwang-dae.[...]
Photo by Zita BradleyIt’s impossible for me to judge the quality of Limb’s textual adaptation, but it seems clear that his work with the per­formers is his real accomplishment here. While the staging is reminiscent of work from Joseph Chaiken, Anne Bog­art, and other luminaries of the Western avant-garde, this Medea, ultimately, is one that could only have been cre­ated by this company. That specificity, that commit ment to growing a piece of theatre from the bodies and personali­ties of the performers rather than mapping it on to them, is what renders Medea and Its Double more than the sum of its parts. [...]

Masataka Matsuda’s dense, difficult [Auto Da Fe] is a meditation on history as an act of erasure, of creative forgetting. Set outside of time in a place called the “History Processing Center,” the play finds Odysseus (or a version of him) abandoning the battlefield and seeking a kind of peace. [...] To transform war into history, workers at the Processing Center shuffle papers, bathe soldiers, write articles, sing ballads, cart files, and tell stories. Little by little, the present recedes, trauma becomes mythology, and entire cultures are erased in the service of a grand narrative.

My own response [to this production] was a mixture of admiration and frustration. International WOW’s aesthetic ambition and political engagement remainPhotos by Piotr Redlinksi worthy of praise, but their work [here is] intellectually and emotionally muddled, [exhibiting] a lack of conceptual and intellectual rigor. [Director Josh] Fox clearly has a knack for eliciting incredible commitment from a large cast but, thirteen years after the company’s debut, and nine years since they garnered attention with one of the first theatrical responses to 9/11, his work doesn't seem to have developed much beyond its initial (considerable) promise. 

 

Read the full review here.

Saturday
20Feb2010

El Coyote

When El Coyote restaurant opened on Northern Boulevard, there was something of a kerfuffle on the Jackson Heights Life bulletin board over whether there was a place for this kind of mid-scale suburbanite restaurant in a neighborhood that is known, in part, for its taquerias and food carts serving delicious, “authentic” Mexican street food at very low prices.

Because my roommate recently ate their and enjoyed it, because today brought a much-needed beautiful and temperate afternoon, and  because I have a great deal of work to do and am looking for ways to procrastinate, I decided to take myself to lunch at El Coyote and judge for myself. I overspent and overate, ordering drinks and dessert, justifying the expense and the carbs with the idea that I would post my thoughts about the meal on my neglected blog. So here goes.

My first impressions of El Coyote were generally positive. Pleasant décor, straddling elegance and kitsch, clean and well-kept. A fully stocked bar. The first indications of attentive service. Sadly, though, the room was almost empty, carrying the faint but unmistakable scent of desperation, of a business in danger of closing if traffic doesn’t pick up.

My host and waitress was extremely friendly, and didn’t bat an eye when I said “Just me for lunch.” She left me with water, a food menu including lunch specials, and a drink menu, quickly returning with chips and salsa, far more of each than I needed than I needed since I was eating alone (assuming I was going to order food), but they were tasty enough and clearly made this morning, or yesterday at the earliest.

I ordered a “lime boat margarita” ($9), supposedly made with Sauza Gold, Grand Marnier, Cointreau, and fresh squeezed lime juice. The “boat” was half of a lime, presumably having been squeezed into the drink, that had a little pool of extra tequila floating in the dent formed by the squeezer. Also, a tiny paper Mexican flag (one of the kitschy touches). The drink was bit sweet for my taste, too heavy on the Grand Marnier and too light on the lime, but I tend to like my cocktails with more acid and less sugar so this was no big surprise.

I ordered from the lunch menu, choosing enchiladas with mole poblano ($6.95), which would come with soup as well as a choice of salad or rice and beans (I asked for the salad).

 

The soup came first. Celery, carrot, dark chicken meat in a light broth. As with what would follow, the good was that the ingredients were fresh; the bad was that they were under seasoned. It could arguably have used one more skim of oil off the top, too, but that’s open to debate.

The one ding against the otherwise excellent service was that I was brought rice and beans despite having asked for the salad. I should have said something, but I’m a little weird about that, and almost never send anything back. So rice and beans it was.

Neither mole nor black beans photograph all that well, particularly in low light, but both continued the theme of competently cooked, slightly under-seasoned fare made from admirably fresh ingredients. It wasn’t bad, but it didn’t have the layers of flavor, the juxtaposition of strength and subtlety, the balance of bite and sweetness and heat that inspires pilgrimages to Oaxaca and Puebla.

By the time I’d eaten most of this, I was full, but I thought I should at least take a look at the dessert menu. Having taken a look it seemed only fair to have a bite of something and post a picture and a few words… 

I opted for the “bananitas,” sweet bananas flambéed in sugar and brandy and served with a scoop of vanilla ice cream ($4.50). I wasn't quick enough with my phone to catch the flames, but they were a fun touch. The bananas were firm and sweet, with just enough caramelization from the flambé. I finished with a smoky Cabo Wabo Añejo, which was served with a salted Virgin Mary shot and a wedge of lime.

While I have to agree with some of El Coyote’s critics that the food doesn’t stand up to some of the neighborhood's divier, grungier options, attentive service and relaxing atmosphere are sometimes worth considering. Your date or your Mom isn’t always in the mood for an “authentically” delicious adventure. Sometimes a smiling waitress, a clean tablecloth and a flickering candle are called for, and Jackson Heights, for all its foodie splendor, has limited options on that front. And the $6.95 lunch menu is a pretty great value.

That said, the most memorable moments of the meal by far were the bananitas and the Cabo Wabo. Everything else cried out for a little more salt, a little more acid, and a little more heat. I’ll be back to El Coyote at some point, I’m sure, and will try to stop by during dinner or happy hour to sample some things I might have missed. In many ways, this restaurant is a valuable addition to our community, but I don’t know how long they’ll last if they don’t realize that this is the wrong neighborhood in which to hold back on the spice.

Thursday
10Dec2009

rant re: anti-intellectualism

I know I need to stop involving myself in debates on other people's Facebook walls, but sometimes I can't help myself.

A friend recently re-posted a status of mine, which read: "Every time someone says 'professorial' like it's a bad thing, I want to defend Obama even if I disagree with him. Fuck anti-intellectualism."

The various responses to his post prompted the following rant, from me:

 ---

"Anti-intellectualism" as a term isn't about your ex with Asperger's or your blowhard friend, or your pretentious, insecure cousin. It's a thread in the US culture that has been remarked upon and documented since at least the 19th century (Tocqueville) and was more fully articulated in the 1960s by Richard Hofstadter (Anti-Intellectualism in American Life). 

It's that aspect of our character that calls kids with good grades "nerds," that accuses those who learn grammar of not "keeping it real," that condemns the family genius as being "too big for his britches," or losing sight of her "roots." 

It is the absurd reality that speaking in complete sentences and thinking in paragraphs is considered a political liability, that researching difficult issues and attempting to address them in an informed, nuanced way is somehow a betrayal of the American notion of the "gut." It is embodied by the false idea that there is an inherent distinction between the "authentic" and the "educated," between thought and emotion, between analysis and action. 


"Professorial" means "professor-like," and the fact that some interpret that to mean "out of touch with the 'real' world" (as if some parts of the world were more real than others) is a direct by-product of the "ivy tower" fiction, the myth that thinking about something removes you from it in a way that renders you less able to engage on a visceral level. Calling a politician "professorial" when s/he discusses war or economics is, essentially, an assertion that decisions about life and death should be made based entirely on "gut" reactions, inspired by impulses for revenge and "justice."

As for "over-analysis," that's usually a misnomer. Most discussions labeled as overly analytical are a) bad analysis or b) inconvenient. Sometimes it is about your asshole boyfriend who won't stop picking away at your eating habits. Sometimes it is about the uncomfortable fact that the Twilight books are thinly disguised socially conservative propaganda designed to promote abstinence, condemn abortion, reinforce gender binaries, and reify a dangerous love-at-first-sight soulmate mythology.

All of this is evident in the fact that the statement that started this thread was about a specific political situation, but the responses that followed had nothing to do with that context. The opportunity to hate on the socially crippled ex, or the teacher who gave you an unfair C, or that coworker who can never just have a good time trumped any possibility of engaging in a productive conversation about our current political climate. Perhaps that's because politics, history, war, identity, etc. are too complex to be considered "real," and because anything beyond an individual's bank account is too abstract to be worth our attention. I hope not.

Saturday
28Nov2009

McCraney's Mythologies

This month's Graduate Center Advocate inlcudes my review of Tarell Alvin McCraney's The Brother/Sister Plays.

As much as it would be fun to play iconoclast, [...] I’m afraid that in this case I have to side with the kingmakers: Tarell Alvin McCraney is the real deal. [...] The aesthetic and narrative strategy of [these] plays is to marry the stories of a rural, lower and working class African-American community with the story telling traditions that the playwright clearly believes to be at the root of the the­atrical impulse. [...] McCraney’s efforts to marry the quotidian with the mythic and the gritty with the cosmic will be criticized by some as pretentious, but I never felt he was try ing to inflate the importance of these very personal stories so much as he was reminding us that mythology is personal too, that the telling of stories, whatever their scope or provenance, is always less about connecting us to our invented gods than it is about connecting us to one another.

Full review here.