Ulteriori informazioni
A wickedly dark comedy set in the aftermath of William Shakespeare's
Titus Andronicus.
Info autore
Taylor Mac (who uses “judy”—lowercase [
sic]
—as
a gender pronoun) is the author of
Joy and Pandemic;
The Hang (composed
by Matt Ray);
Gary: A Sequel to Titus Andronicus;
A 24-Decade History
of Popular Music;
Prosperous Fools;
The Fre;
Hir;
The
Walk Across America for Mother Earth;
The Lily’s Revenge;
The
Young Ladies Of;
Red Tide Blooming;
The Be(A)st of Taylor Mac;
and the revues
Comparison Is Violence;
Holiday Sauce; and
The
Last Two People on Earth: An Apocalyptic Vaudeville (created with Mandy
Patinkin, Susan Stroman, and Paul Ford)
. Mac is the first American to
receive the International Ibsen Award; is a MacArthur Fellow, a Pulitzer Prize
finalist, a Tony nominee for Best Play; and is the recipient of the Edward M.
Kennedy Prize for Drama Inspired by American History (with Matt Ray), the Doris
Duke Artist Award, a Guggenheim, the Herb Alpert Award, a Drama League Award,
the Helen Merrill Award for Playwriting, the Edwin Booth Award, two Helpmann
Awards, a New York Drama Critics’ Circle Award, two Obies, two Bessies, and an
Ethyl Eichelberger.
Riassunto
“Fabulous and bedraggled: a defiant and beautiful mess… Welcome to the world of Gary: A Sequel to Titus Andronicus, where carnage and camp coexist.” —Jesse Green, New York Times
In Gary: A Sequel to Titus Andronicus, Taylor Mac’s singular worldview intersects with William Shakespeare’s first tragedy, Titus Andronicus. Set during the fall of the Roman Empire, Mac’s extraordinary play picks up where Shakespeare’s blood-soaked tale left off: the coup has ended, the country has been stolen by madmen, and there are casualties everywhere. Two lowly servants, Gary and Janice, are charged with cleaning up the bodies. It’s the year 400—but it feels like the end of the world.
Prefazione
Co-op available
National advertising: American Theatre Magazine
National print and online campaign
Social media campaign
Testo aggiuntivo
“Gary is a farce, a piece of messy circus… There is nothing like
it on Broadway, and that is to be welcomed. It is an argument for art, and a
passionate call for resistance.”
