Complicating matters, he thinks of himself as bisexual.
The show, which the playwright also directed, starts in the mid-1980s, when AIDS was still thought of as “the gay disease.” Dancing and cruising in clubs, Eduardo and his buddies are at first oblivious to the new viral threat, then mildly worried, then terrified. Machado has acknowledged that “Not About Me” was prompted by the arrival of Covid, which reminded him of AIDS, “the first pandemic of my generation,” as Eduardo puts it. Its stars? An eclectic cast of dancers who are anything but machines.
Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. It will be one of the hottest tickets in town. Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. Rising Stars : These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months. 
Musical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes. Eduardo is even married to a Harriett, as Machado was in real life for nearly 20 years - “your wife who you have always made an offstage character in all your plays,” according to one of Eduardo’s friends, Frank (Ellis Charles Hoffmeister). This autofictional bent is par for the course for an artist who has long drawn on his own story. The protagonist and narrator of “Not About Me” (take that title with a grain of salt) is a Cuban-born gay playwright named Eduardo (Mateo d’Amato) who bears a striking resemblance to Machado, a Cuban-born gay playwright. Everybody is likely to agree that the eye-searing abundance of ill-fitting pants is pushing verisimilitude a pleat too far. Younger people might think they have chanced upon a diorama of vintage East Village theater. 
It’s another to make audience members feel as if they are watching it contemporaneously: Eduardo Machado’s “Not About Me,” which just opened at Theater for the New City, could have been airlifted wholesale from that era.įor New York theatergoers who lived through those times, the occasionally ramshackle acting and the endearingly primitive projections make for an experience akin to stepping into a hot-tub time machine. It’s one thing for a new show to take place, for the most part, in the downtown Manhattan of the 1980s and ’90s.
0 kommentar(er)
