Non-Registered Critics: Steve Vargas

Apr

Argonautika

"Argonautika" navigates Jason and the Argonauts to the golden fleece through a choreographed duet with the set. Leaping from world to world, they sail on their stage-turned-ship. There is power in each row, propelling them forward into the next step of this dance. Rodriguez-Elliott takes Mary Zimmerman's words and tells a story in a daringly virtuosic way that brings eyes to the edge of the boat and across the sea as character jump and fight in sync with the altering set. It is a storybook on feet with no reading required.

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Apr

Black Super Hero Magic Mama

"Black Super Hero Magic Mama" adds truth to a story typically reported with false interpretations. It shows the struggle black mothers and sons face under today's social pressures without making them the "other." This time, the public gets to see the truth: the mother is strong.

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Mar

Othello

As Lodovica delivers her last words, Iago sits in anguish, guilt, and sadness, which is heart-wrenching to witness. After the ups and downs of the production, the intimacy between the characters and the audience culminates a lasting feeling of self-reflection. We reflect not only on the tragedy of Othello, but also on the perspectives of racism and misogyny painted with the words of Shakespeare that still feel difficult to carry hundreds of years later.

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Mar

Canyon

The movement directed by Whitney White grabbed the audience's attention no matter what area of the traverse stage the actor's performed in. Daniel Soule's scenic design allowed White to take advantage of levels and the audience. With the audience on three sides of a square stage, White's direction made sure actors were visible and no part of the story was overlooked by a lack of vision. Even with a back turned to the audience, every moment brought the audience into the story through Caren's poignant language and intricate plot.

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