Living Dead in Denmark
You know that you wanna join us. I was about to get a ticket for the show, but if we can get 10 people to throw in, tickets are $13.50 vs. $21.50 (Fees included) I'll give you till Thursday afternoon to say, ya or nay... But I'm getting my ticket for Saturday's show at 8PM Thursday afternoon. Interested?
(Crossposted in Dominyk's LJ)
Shakespeare and zombies. Rock on. Who is up for going this Saturday? Let Dom or I know. If we get a group of 10 together we will get a discount. Tickets here.
To Zombie or Not to Zombie - Theater Review - Washington City Paper
Upon learning that Living Dead in Denmark was originally produced by Vampire Cowboys, the much-buzzed New York-based theatrical company whose gleefully geeky mission statement reads: “To create and produce new works with an emphasis on stage combat and dark comedy with a comic book aesthetic,” potential theatergoers divide themselves into two distinct camps. These are, respectively, “No thanks,” and “Yes, I will take half a dozen.” This reviewer pitches his tent in the “Yes” camp, and I’ll confess that when I read playwright and Vampire Cowboys co-founder Qui Nguyen’s description of the show as a “love letter to Shakespeare, comic books and Hong Kong style action,” said tent-pitching verged on the literal. If actually seeing Rorschach’s staging caused some of that ardor to flag, perhaps that was inevitable; you certainly can’t chalk it up to a lack of effort on director/fight choreographer Casey Kaleba’s part. Goofiness and gore are cheerfully, ravenously embraced-which makes sense, as Nguyen’s script is little more than a pop culture gag-a-thon affixed to a self-consciously shlocky Roger Corman plot: Five years after the characters in Hamlet undergo their climactic mass exeunt, Ophelia (Amy Quiggens) is resurrected, upgraded with super fighty-fight powers, by Fortinbras (Ben Cunis) to join the similarly revivified Juliet (Megan Riechert) and Lady Macbeth (Katie Atkinson). Together, the Bard’s three badass broads wage a pitched battle against a plague of zombies led by a mysterious figure (Tony Bullock) given to ham-fisted oratory. (That’s a hint.) If ever a show resolutely resisted analysis and explication, it’s this one-Nguyen tosses in so many incongruous, omnidirectional, and deliberately momentum-killing jokes that recognizing the reference becomes its own reward. The whole thing’s essentially a game of pop-culture bingo featuring-but by no means limited to-shoutouts to Scooby Doo, The Incredible Hulk, Patton, The Six Million Dollar Man, Buffy the Vampire Slayer, James Bond, Brokeback Mountain (really? still?), Trix commercials, Resident Evil 4, the Undertaker’s tombstone pile driver and “Thriller” (the latter a gimme, given the subject matter.)
(Crossposted in Dominyk's LJ)
Shakespeare and zombies. Rock on. Who is up for going this Saturday? Let Dom or I know. If we get a group of 10 together we will get a discount. Tickets here.
To Zombie or Not to Zombie - Theater Review - Washington City Paper
Upon learning that Living Dead in Denmark was originally produced by Vampire Cowboys, the much-buzzed New York-based theatrical company whose gleefully geeky mission statement reads: “To create and produce new works with an emphasis on stage combat and dark comedy with a comic book aesthetic,” potential theatergoers divide themselves into two distinct camps. These are, respectively, “No thanks,” and “Yes, I will take half a dozen.” This reviewer pitches his tent in the “Yes” camp, and I’ll confess that when I read playwright and Vampire Cowboys co-founder Qui Nguyen’s description of the show as a “love letter to Shakespeare, comic books and Hong Kong style action,” said tent-pitching verged on the literal. If actually seeing Rorschach’s staging caused some of that ardor to flag, perhaps that was inevitable; you certainly can’t chalk it up to a lack of effort on director/fight choreographer Casey Kaleba’s part. Goofiness and gore are cheerfully, ravenously embraced-which makes sense, as Nguyen’s script is little more than a pop culture gag-a-thon affixed to a self-consciously shlocky Roger Corman plot: Five years after the characters in Hamlet undergo their climactic mass exeunt, Ophelia (Amy Quiggens) is resurrected, upgraded with super fighty-fight powers, by Fortinbras (Ben Cunis) to join the similarly revivified Juliet (Megan Riechert) and Lady Macbeth (Katie Atkinson). Together, the Bard’s three badass broads wage a pitched battle against a plague of zombies led by a mysterious figure (Tony Bullock) given to ham-fisted oratory. (That’s a hint.) If ever a show resolutely resisted analysis and explication, it’s this one-Nguyen tosses in so many incongruous, omnidirectional, and deliberately momentum-killing jokes that recognizing the reference becomes its own reward. The whole thing’s essentially a game of pop-culture bingo featuring-but by no means limited to-shoutouts to Scooby Doo, The Incredible Hulk, Patton, The Six Million Dollar Man, Buffy the Vampire Slayer, James Bond, Brokeback Mountain (really? still?), Trix commercials, Resident Evil 4, the Undertaker’s tombstone pile driver and “Thriller” (the latter a gimme, given the subject matter.)