The Wooster Group's latest production, Nayatt School Redux, is a posthumous tribute to the late monologist and playwright Spalding Gray. In this reimagining of his 1978 autobiographical piece Nayatt School, the company has woven together disparate elements from various sources. The result is a mesmerizing blend of high and low art that defies traditional notions of coherence.
At its core, Nayatt School Redux is an exercise in juxtaposition. The production combines elements of TS Eliot's post-war play The Cocktail Party with 1960s B-movies, resulting in a unique fusion of drawing-room comedy and esoteric religious debate. Spalding Gray's original work drew inspiration from his own life experiences, including his mother's Christian Scientist faith and his struggles with mortality.
The Wooster Group, co-founded by director Elizabeth LeCompte and the late Spalding Gray, has long been known for its bold and innovative approach to performance art. By combining seemingly disparate elements, they create something new and unexpected. The company's technique is akin to frottage, an artistic practice pioneered by Max Ernst in which pencil rubbings are taken from rough surfaces to create something new.
The result of this process can be discombobulating, but also entertainingly funny. As Kate Valk, who played the lead role in the original production, notes, "It's a fun mix...sometimes it's not logical or reasonable, but you put the source material and the text so they're vibrating against each other and then they somehow grow together." The company's performances often leave audiences bewildered, yet simultaneously admiring for their precision and technical skill.
As Scott Shepherd, another member of the original production, notes, the Wooster Group's high-low combination has a double benefit. It takes the high thing down off its pedestal, allowing audiences to appreciate an earthier humanity encoded within. Conversely, it exposes something sublime in the low thing.
Elizabeth LeCompte, who has continued the company's legacy, is the driving force behind Nayatt School Redux. With her enthusiasm and sense of joy, she remains a vital presence on stage, delighting audiences with her absurdities and mischief. As she approaches 82, LeCompte's energy and vitality are undiminished.
Nayatt School Redux will be performed at London's Coronet theatre from April 17th to 25th. This reimagining of Spalding Gray's original work is a testament to the Wooster Group's innovative spirit and commitment to pushing boundaries in performance art.
At its core, Nayatt School Redux is an exercise in juxtaposition. The production combines elements of TS Eliot's post-war play The Cocktail Party with 1960s B-movies, resulting in a unique fusion of drawing-room comedy and esoteric religious debate. Spalding Gray's original work drew inspiration from his own life experiences, including his mother's Christian Scientist faith and his struggles with mortality.
The Wooster Group, co-founded by director Elizabeth LeCompte and the late Spalding Gray, has long been known for its bold and innovative approach to performance art. By combining seemingly disparate elements, they create something new and unexpected. The company's technique is akin to frottage, an artistic practice pioneered by Max Ernst in which pencil rubbings are taken from rough surfaces to create something new.
The result of this process can be discombobulating, but also entertainingly funny. As Kate Valk, who played the lead role in the original production, notes, "It's a fun mix...sometimes it's not logical or reasonable, but you put the source material and the text so they're vibrating against each other and then they somehow grow together." The company's performances often leave audiences bewildered, yet simultaneously admiring for their precision and technical skill.
As Scott Shepherd, another member of the original production, notes, the Wooster Group's high-low combination has a double benefit. It takes the high thing down off its pedestal, allowing audiences to appreciate an earthier humanity encoded within. Conversely, it exposes something sublime in the low thing.
Elizabeth LeCompte, who has continued the company's legacy, is the driving force behind Nayatt School Redux. With her enthusiasm and sense of joy, she remains a vital presence on stage, delighting audiences with her absurdities and mischief. As she approaches 82, LeCompte's energy and vitality are undiminished.
Nayatt School Redux will be performed at London's Coronet theatre from April 17th to 25th. This reimagining of Spalding Gray's original work is a testament to the Wooster Group's innovative spirit and commitment to pushing boundaries in performance art.
, Nayatt School Redux is like nothing I've ever seen before. It's like they took all these different fragments of art and literature and mashed them together into something completely new and unexpected 
. I mean, combining TS Eliot's post-war play with 1960s B-movies? Genius! 
. It's like they're saying, "Hey, we're not gonna follow any rules here, but just go with it!" 
. And Elizabeth LeCompte's enthusiasm and sense of joy on stage are just infectious! 
! As a parent, I think it's great that her energy and vitality are still inspiring people at 82 years old.
...the way they mash up art forms, it's like a weird beautiful mess 
...it's like they took all the stuff they liked and just ran with it, no regrets or apologies needed 
...Elizabeth LeCompte seems like a total boss, still going strong at 82 
...i mean, combining TS Eliot with 60s B-movies? that's some next level stuff 
...anyway, can't wait to see this show in London 
. Spalding Gray's original work is already pretty trippy, but this new version just raises the bar 
. I mean, who wouldn't want to see TS Eliot's cocktail party meets B-movies? It's like they're having a wild conversation with art itself 
. The Wooster Group always pushes boundaries and never settles for boring 
. Can't wait to see this one live!
It's like they're saying, "Hey, we can make something beautiful out of anything." The fact that it's not logical or reasonable just adds to the charm. I'm definitely going to check out this production in London...anyone else going?
. And don't even get me started on how disjointed it must be to watch, I bet audiences will be completely lost half the time 
. The Wooster Group needs to go back to basics and stop trying to reinvent the wheel 
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. But honestly, some of these performances can be super confusing...like, what's even happening on stage? It's all just this beautifully messy jumble of ideas and sounds 
I've been following The Wooster Group for years, and it's amazing to see how they continue to push the boundaries of performance art. This new production sounds like a wild ride - I love that they're taking disparate elements from different sources and combining them in unexpected ways. It's a great example of how art can be both high and low at the same time...I mean, who wouldn't want to see TS Eliot meet B-movies? 
. It's like frottage for your brain - you don't always know what to make of it, but somehow it all comes together in a beautiful mess 
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. It's like they're saying, 'Screw the rules!' and creating something entirely new from those fragments. Love it! 