SOMEWHERE EITHER very far above or below the street level of the Financial District—it’s hard to tell when you’ve spent a few hours stumbling around in the dark—I ended up in the American West. In one of many hidden rooms inside the labyrinth of Life and Trust, the floor turned into the soft earth of a corral, the walls were painted with a view of red-rock mesas, and a performer in cowboy gear was circling another person who happened to be wearing a horse mask. The horse was forced to the ground, then the other man stood above as the horse slowly rose up on its knees, seemingly tamed.
Watching the scene felt not unlike unlocking an achievement in a video game: I had been wandering up and down and across the six floors that compose this vast new immersive theater project, hoping to find something cool to brag about discovering, and here it was. The choreography, by Jeff and Rick Kuperman (of muddy rumble in The Outsiders), was moody and muscular, and the action was mysterious enough without slipping into anything too coy and winking. I had the feeling of relief—Okay, thank God I found something that really stood out—as both an audience member and a critic. Then, as the situation ended, the feeling of anxiety returned. The actors sped off to their next cues, and I scurried after them, hoping I had chosen a path that would return me to a compelling moment.
Bu hikaye New York magazine dergisinin Aug 12 - 25, 2024 sayısından alınmıştır.
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Bu hikaye New York magazine dergisinin Aug 12 - 25, 2024 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
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