“It’s been 70 years since the play premiered, and this production is evidence of its ongoing power. Purposefully ambiguous, this play seems timeless. Godot, like Gogo and Didi, isn’t going anywhere.” Read more from Time Out Magazine here.
“WIT AND HUMANITY…REMARKABLY LIBERATING…Arin Arbus’s Waiting for Godot feels vigorous and down-to-earth. As a duo, Sparks and Shannon have all the chemistry you would hope for…they light up. ” Read more from New York Magazine here.
“EXCELLENT PRODUCTION…RIVETING…Michael Shannon and Paul Sparks bring a bracing comedic energy that makes sense of the play’s various absurdities and resonant depth. It’s a rare production that you want to carry on waiting for Godot with Didi and Gogo, but…
“Seeing Michael Shannon take on the role of Estragon in this Theatre for a New Audience production sounds especially exciting.” Steven McElroy, The New York Times Read more from The New York Times here.
“I once saw its stars, Michael Shannon and Paul Sparks, crack each other up onstage so hard that they had to hide under a blanket. If you think a little existential dread will make them behave, I’ve got a tree…
“This Godot represents a reunion of two of the most unforgettable actors working on the New York stage… I’m expecting incredible things from this duo.” –Zachary Stewart, TheaterMania Read more from TheaterMania here.
Michael Boyd, who led the Royal Shakespeare Company as artistic director from 2002 to 2012, a decade in which he stabilized the organization while undertaking ambitious projects including a heralded New York residency and the mounting of the un-Shakespearean hit…
“Prometheus Firebringer is a quietly stunning, brain-jangling piece of work. Dense and yet lucid, somehow both harrowing and playful, the play-lecture takes us along on a series of looping interrogations into how the omnipresence of AI is already rewiring our brains.”…
“’Prometheus Firebringer’ ask(s) audiences to consider what Dorsen — taking a line from the French philosopher Bernard Stiegler’s ‘The Age of Disruption: Technology and Madness in Computational Capitalism’ (2019) — calls ‘the fundamental ethical question, the question of knowing whether…
“The piece riffs on the lost final play of Aeschylus’s Prometheus trilogy as a way of thinking about the relationship between technology and power. On one side of the stage, everything is made by commercially available AI products: A set…