What I liked
Full review to follow.
What I didn't like
Full review to follow.
My overall impression
Clownish perfection poses a unique problem for reviewers in that the blend of Da-Da slapstick and rib-tickling existentialism tends to defy easy description, in that they tell stories that go beyond language.
I’ve always suspected the reason for this is that in our evolution, “clowning” preceded language.
Holy, Holy: The Birth of Disco is such a show that the reviewer must resort to describing blocks
The ensemble (Angelika Giatras, Alex Derderian, Emily Markoe, Hollis Hart, Tiffany Ogburn, Molly Kochs, and Franny Harold), presents a prologue of full-blown animus bellowing out random, disconnected catchphrases of masculinity: Money, Al, stock incentives, money, cubicles, spreadsheets), what follows is an aquatic ballet of rebirth and exploration of the other potentials of life. The show is a choreographed work by written by the ensemble and director Natasha Mercado, with Hart doing double service as set designer and Koch as sound designer. What has been achieved under Mercado’s guidance is a stunning work of imagination and intelligence that questions what is holy.
Oh, and it is really funny too.
