one album one play

I’ve only listened through it once, and for half of it I was struggling to turn on the gas, light pilot lights and otherwise make our stove functional, but Jay-Z’s American Gangster is really good. Much better than Kingdom Come--unlike that semi-flacid gloat boat, this record is inspired. Haven’t see the film yet, but perhaps if ot helped Jay find his focus, its work is already done. The beats sound fresh but not trendy, I’m hoping this album will age like Reasonable Doubt and the Black Album, which is to say well. As on those, he’s having fun with words again, which is why some of us liked him in the first place. Where Kingdom was bloated, Gangster is taut, where Kingdom felt aimless (or at least like it was flailing around far outside of it’s supposed “STILL HOVA!!!” target,) Gangster hits its mark, song after song. Even Nas’ semi-cringe worthy Google earth reference* makes for a decent lyrical debate: it’s not just awful. And hot as “Blue Magic” is, I was pleased that the album isn't “Look at me out-Clipse the Clipse--Neptunes, give me your beats” or somesuch. I’m also impressed with the cinematic arc of the album. It’s aim is true, and there’s no filler. None.

I would like to recommend a play to the New Yorkers out there. The Awkward society is currently staging a production of Sarah Kane’s 4:48 Psychosis in an amazing space not far from my old apartment, which would have made this all very convenient if I could have gone a week ago. This production blew my mind, and I have to confess that at the very beginning I was terrified that a work I dearly love was about to be massacred by amateur experimental theater enthusiasts with a gimmicky idea and too much sincerity. No. It works. The audience does not have the option in this space to sit back, there is no distance from the material, forcing the voyeuristic element of any interaction with the text into the forefront. The audience feels their intrusion on a visceral level.

MNBFBW and I had much to debate about the production--readings of certain scenes weren’t what either of us expected, and it can be difficult to surrender to a divergent interpretation of work you feel you have a strong handle on. But these readings weren’t bad, just different. And that, I guess, is one of the reasons people like live theater.

The descision to portray the protagonist unambiguously as Sarah Kane herself was also surprising, so many people avoid highlighting the (obvious and extreme) similarities between her and the woman in this last play she wrote concerning creativity,depression, anguish and suicide before killing herself. I understand the desire to let the play speak for itself and succeed of fail on its own merit, as well as to reduce sensationalism and the cult of the dead young artist thing. However, this is so clearly an autobiographical articulation of a specific, personal struggle, that I am open to this tactic, particularly in such a small, intimate setting.


I’d like to know what others think. This isn’t just theater, it’s an experience. It’s like a theme park ride around inside a brilliant, tortured mind (no, really,) so don’t go if you want a light comedy or escapist drama. If you’re up for something challenging and great, please go.


*I have to thank my bf for calling this issue to my attention