Envious of those able to attend the Taylor Mac marathon — but at least I got a sample of it last year.
The performance phenomenon known as Taylor Mac has been riding a wave of more mainstream success of late.
A few seasons ago he was a smash in a remarkable production of Brecht’s The Good Person of Szechuan by the Foundry Theatre at the the New York Public Theatre (playing both Shen Te and Shui Ta). The run of Mac’s wild new play Hir at New York City’s Playwrights Horizons was recently extended — yikes, recognition by the global capitalist economy! — and Hir is showing up on several best-of-the-year lists. (The title of this darkly absurd comedy about a dysfunctional, moving-to-postgender family conflates “his” and “her,” though Mac’s own gender pronoun of preference rejects both of these in favor of the delightfully befuddling “judy.”)
And Mac is heading into 2016 with his most-ambitious project ever: A 24-Decade History of Popular Music (still in progress), which will ultimately comprise…
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