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.
Esta historia es de la edición November 20, 2023 de The New Yorker.
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Esta historia es de la edición November 20, 2023 de The New Yorker.
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THE SPACE BETWEEN
\"Janet Planet.\" The first time we meet Janet in \"Janet Planet,\" a wondrous début feature from the celebrated playwright Annie Baker, she is standing on a rural road a little way from the camera.
LABOR PAINS
Lucy Kirkwood's \"The Welkin\" assesses women's work.
OFFLINE
Lizzy McAlpine on the power and pitfalls of viral fame.
HEAT RISING
The era of the line cook.
UNSHATTERED
How the philosopher Charles Taylor would reënchant the world.
THE PLAGUE DOCTOR
Anthony Fauci on what's ailing America.
the buggy RODDY DOYLE
There were people at the far end of the beach. Some adults, a lot of children.
GHOSTS ON THE WATER
Glass eels are mysterious creatures—and worth a fortune to those who catch them.
THE CRACKDOWN
Fighting drug gangs, a young President declares war within his own country.
SMALL WONDER
How will nanomachines change our lives?