The night that I saw Geoff Sobelle’s “FOOD,” something went wrong—and thank heavens it did. Sobelle is a superb clown, which is another way of saying that he’s in his element when things are going sideways. (Clowns, at least physical comedians like Laurel and Hardy or Buster Keaton, tend to choose the silly, self-defeating path, so any obstacle just makes a task clownier.) Sobelle’s one-man production, at the Brooklyn Academy of Music’s Fishman Space, takes place around a massive square table, maybe twenty feet on each side, set with dinner plates, silverware, and a white tablecloth. Thirty audience members are allowed to pull up a chair, while the rest of us sit in theatre seats banked high on three sides. Sobelle is our maître d’, and his affable, unfailingly polite expression exudes patience as his guests foil his attempts to make the evening go smoothly. The pressure builds; his tolerance visibly increases. It’s delicious.
Diese Geschichte stammt aus der November 20, 2023-Ausgabe von The New Yorker.
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Diese Geschichte stammt aus der November 20, 2023-Ausgabe von The New Yorker.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
Bereits Abonnent? Anmelden
ONWARD AND UPWARD WITH TECHNOLOGY ABRIDGED TOO FAR
The world according to Blinkist.
ANNALS OF INQUIRY WAIT FOR IT
Suspense in literature and life.
A REPORTER AT LARGE YOU MAKE ME SICK
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AGE OF ANXIETY
The love songs of Billie Eilish.
THE CURRENT CINEMA APOCALYPSE WHEN
“Megalopolis.”
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In his latest novel, Garth Risk Hallberg shrinks his frame.
EYES UP HERE
The perils and pleasures of a nice rack.
A CRITIC AT LARGE SAY THE WORD
Why liberals struggle to defend liberalism.