A Kingdom, A Chasm, a new performance by Vagabond Inventions, is a whimsical window into a post-apocalyptic community. Three characters—Dudley (Cameron-Mitchell Ware), Chauncey (Owen Ever), and Emelda (Lisa Shattuck)—are trying to maintain a semblance of normalcy inside a chaotic world where there are green men in tanks on all corners, helicopters flying overhead, and a roving band of children stealing food. Performed in the still-under-construction Art Klub, Adam Tourek’s sculptural set of fabricated wreckage centers a burned-out car that the performers sleep inside, drink tea on top of, and tumble around. Read More
Creep Cuts, which premiered at this month’s Forge Microfest, is a post-punk, post-drag, cabaret dream sequence—part live-action Internet meme, part electronic dance party, part queer coming-of-age tale. Through a series of narrative vignettes and musical numbers, Mz. Asa Metric (Evan Spigelman) and her imaginary friend, Mqr. En Between (Dylan Hunter), explore a realm of imagination, loneliness, and trash. Read More
“Clouds/Cows”—a collaborative performance-turned-exhibition by artist Jessie Vogel and performance duo Nat & Veronica—is a meditation on the mundane, an exploration of everyday sights transformed into something fantastical.
At last Saturday’s opening at The Front, three women wearing six baggy sweaters (one for each set of arms and legs) stared in soft focus through a round plywood frame. They flicked their arms and emitted deep grumbling mmm sounds before lying on sod. When a gallerygoer dropped a bottle, they responded—flicking their arms and letting their eyes, then their heads, then their whole bodies wander toward the object. Their tongues darted out of their mouths exploring their cheeks, trailing half-munched carrots. Nat & Veronica’s Cows performance is at once comical and disturbing. The three performers embody so completely this archetypical American farm animal, provoking laughter and drawing unsettling connections between women and these animals who provide milk and meat. The piece commands us to stop, watch, and wait. Read more
Where have all the dyke bars gone?
From the 1960s into the ’90s, there were more than a dozen lesbian spaces in New Orleans. Les Pierres, Paulette’s, Charlene’s, Brady’s, and so many more were sites of intimacy and resistance for queer women. Dyke spaces all over the country are disappearing, but here, in New Orleans, the lack carries a specific salience. New Orleans has long been a place of pilgrimage for queer people in the largely conservative South. It is where we could come to finally be ourselves. Now, when we arrive, where do we go to find other people like us? Where do we go to find the people who came before us? Read more