written by
Matt Cosper

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Matt was born south of LA, but is officially a Charlotte kid. Introduced to Artaud at an impressionable age, he decided that living art was the thing for him. He is also a huge book nerd, and so feels compelled to write about what he sees, hears, feels, does. He goes to school in Greensboro, and is a founding co-artistic director of The Farm Experimental Performance Laboratory. Peace.

write to Matt

 

 

PERFORMANCE REVIEWS

  • The House of Atreus
    July, 2002
    "The family history involves adultery, cannibalism, child murder and war. Emotions run high and the gods can be cruel in these ancient sob-fests. In this telling of the tale, there is a focus on the human aspects of the epic myths."
  • The Serpent
    May, 2002
    "... written for Joe Chaikin's Open Theatre by Jean Claude van Itallie, and reimagined by Alan Poindexter, The Serpent is part ceremony, part fable, part hallucination... a fabulous play on its own merit, and Poindexter's staging is nothing short of genius. This is a personal and moving encounter, with everlasting themes and motifs."
  • Baby with the Bathwater
    April, 2002
    "We are introduced to an apparently normal situation and then jolted by a quick splash of the surreal. This is an apt visual and sensory metaphor. Director K. Elizabeth Stevens matches this with an intuitive feeling for pace, a real understanding of Durang's deranged, quick-change style, and a striking a-symmetrical visual sense - a winning combo."
  • Don Juan
    March, 2002
    "This cynical take on hypocrisy, master-servant relationships, and the conflict of morals in the then newly dawned age of reason is augmented by Molière's love of commedia del' Arte and Wadsworth’s sophisticated and thoroughly modern way of handling this classic work."
  • Maria del Bosco Sex & Racing Cars: A Sound Opera
    January, 2002
    "...a stunning revelation of the possibilities inherent in alienation, and a testament to Foreman's social consciousness and undeniable mastery of the theatrical form."
  • and god created great whales
    January, 2002
    "The play seems to be lost at sea, the floating wreckage of a once beautiful ship battered by a gale."

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