Botox Angels by Dood Paard

25 June 2015 — 28 June 2015
66 E 4th St, New York, NY 10003, Verenigde Staten New York City Show on map | add to calendar
#theater

NEW YORK, June 22 — La MaMa Experimental Theater is now one victim of the widely-reported chaos for business travelers, agricultural workers and international performers as an ongoing computer glitch has halted the application process for US visas.

The inability to obtain visas for the actors and crew of Dutch theater troupe Dood Paard has forced the cancellation of “Botox Angels,” which was to be presented by La MaMa Experimental Theater Club from June 26 to 28 in its Ellen Stewart Theater, 66 East 4th Street.

Read more on: http://bit.ly/1GjiePK
 
 
 

La MaMa in Assocation with Amsterdam’s company Dood Paard presents Botox Angels from June 25-28 in the Ellen Stewart Theatre, 66 East 4th Street.

Botox Angels

Dress up games. Dildos. Fake breasts. Men. Banality versus philosophy. Emotion versus rationality. Sultry dialogue. Jealousy. Emotional violence. Everything, in fact, that makes life worth living.

After “medEia” at PS122 (2007), “Reigen ad lib” at the Guggenheim Museum (2011) and “Stock Xenophobia” at La MaMa (2012), the leading Dutch theater company Dood Paard returns to New York with the U.S. premiere of a feminist lesbian relationship comedy about militant sexuality. Three women, named Swift, Cocky and Deedee, negotiate shifting power relationships, juggle dildos and fake breasts, play dress-up games and cross swords about men, breast reductions, philosphy versus banality and emotion versus rationality.

With Ellen Goemans, Janneke Remmers and Manja Topper.
Text Rob de Graaf, translation Paul Evans.

FIVE PERFORMANCES ONLY

JUNE 25 TO 28 2015

Thur, Fri, Sat at 8:00 PM
Matinees Sat at 3:00 & Sun at 4:00 PM
$25/$20 students & seniors
Ten $10 tickets will be available for every performance on a first-come, first-served basis.
Box office (646) 430-5374 / www.lamama.org

About Dood Paard

Dood Paard founded 20 years ago, has developed its own style of theatre. First and foremost, Dood Paard’s approach is an expression of how its members work together and how they perceive the world around them. It can most easily be characterised through tangible components such as Kuno Bakker’s logo-like poster designs, the group’s montage approach to set and costume design, and the actors’ openness to their live audience. But Dood Paard’s theatre is actually the expression of a mentality that has everything to do with autonomy, and each performance is an explicit attempt on the part of the actors to relate to the world in the here and now. In a Dood Paard play, group behaviour is a matter of clearly signalled agreements: the actors continually change their clothes, they pretend that they are having a meeting, they make the audience feel as welcome as possible, and they never leave the stage. But in each production, and behind each pair of costume glasses, the actors always remain tangibly, visibly, individual personalities.  Past and present work by Dood Paard includes RITTER DENE VOSS by Thomas Bernhard, REIGEN ad lib (after Hands Around) by Arthur Schnitzler, FREETOWN by Rob de Graaf, ANSWER ME by Gerardjan Rijnders, Othello (bye bye) by William Shakespeare and Wachten op Godot (Waiting for Godot) by Samuel Beckett. Dood Paard performs regularly in the Netherlands and Belgium, and often at theatres and festivals in Europe and beyond.