
Poised between the script and its fullest realization as a complete production, few things are more fascinating (and exciting) than a staged reading. With the work of Andrea Hairston, a staged reading can give the audience member a more complete understanding of the work in progress. Hairston, artistic director for Chrysalis Theatre, has garnered awards and attention for her dramatic work as well as her endeavors in fiction, both of which have long been firmly entrenched in sf.
I had the pleasure of seeing a staged reading of her latest and perhaps best work to date at one of the NYRSF Readings events in May, and Hairston will be giving another staged reading at this year’s Readercon in Boston. Attendees should make every effort to see the performance for the chance to participate in the artistic process—audience is an important part of a staged reading—and because Hairston’s clever melding of language and music shouldn’t be missed.
Thunderbird at the Next World Theatre illustrates what has always happened when an oppressive regime takes power: the takeover of all forms of news media and the closing of the theatres. Wonder why the theatre always receives such criticism? At its best, theatre is dangerous, subversive, and seditious. Thunderbird follows two actors, Benny and River, outlaws in the eyes of the new order, who like others of their kind, attempt to salvage not just props and costumes but myths and ritual and words. In this post-apocalyptic world, the government watches everyone while forbidding gatherings and skin-to-skin contact. People are expected to only “read and write screen,” libraries are blown up along with arts districts, and drones blow myths out of the sky. Hairston’s compelling commentary on the potential price of wiring-in shouldn’t be missed.
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