big trip la mama

"It is safe to say there is nothing else like this on New York stages right now."

- elisabeth vincentelli, the new york times, directed by dmitry krymov.

big trip la mama

Get Tickets

September 24 – October 15, 2023

Ellen Stewart Theatre 66 East 4th Street, 2nd floor New York, NY 10003

Adults: $45 Students/Seniors: $40 First 10 tickets are $10 (limit 2 per person)

Ticket prices are inclusive of all fees.

Join Us for Dmitry Krymov's Birthday Gala Performance! ‍

Tuesday, October 10 at 7PM

Experience the captivating production of "Onegin (In Our Own Words)" by Krymov Lab NYC. Following the performance, join us for a post-show reception to personally wish Dima a happy birthday and meet the talented cast and crew.

Big Trip marks the full American debut of Dmitry Krymov’s singular theatrical vision. Hailed by The   New York Times  as “one of the world’s finest theater-makers,” Krymov has developed a new mode of creation – “Theater of the Artist” – in which design elements take on journeys as complex and vivid as those of the characters. In two interconnected parts, Big Trip explores both American and Russian cultures, past and present, through unique theatrical adaptations of some of their most iconic writers: Hemingway, Pushkin, and O’Neill.

Big Trip 1:  Pushkin "Eugene Onegin" in our own words

Sunday, September 24 at 2PM Friday, September 29 at 7PM Saturday, September 30 at 2PM and 7PM Sunday, October 1 at 2PM Friday, October 6 at 7PM Saturday, October 7 at 2PM and 7PM Sunday, October 8 at 2PM Tuesday, October 10 at 7PM - GALA PERFORMANCE Wednesday, October 11 at 7PM

Big Trip 2: Three love stories near the railroad

Tuesday, September 26 at 7PM Wednesday, September 27 at 7PM Thursday, September 28 at 7PM Tuesday, October 3 at 7PM Wednesday, October 4 at 7PM Thursday, October 5 at 7PM Thursday, October 12 at 7PM Friday, October 13 at 7PM Saturday, October 14 at 2PM and 7PM Sunday, October 15 at 2PM

Photos by Steven Pisano

big trip la mama

Krymov Lab NYC produces design-forward theatrical presentations; develops new work and methods through rigorous improvisatory experimentation; and trains designers, directors, and actors in devised theater-making. The Lab breaks normative theater power structures, emboldening young and seasoned artists alike to create ambitious objects, characters, and moments. We aim to surprise, examine our lives, and respond to the question, “What kind of art can exist in this time?” www.KrymovLabNYC.com  

Krymov Lab NYC's residency at La MaMa has been generously supported by the Trust for Mutual Understanding and the Venturous Theater Fund of the Tides Foundation. Additional production support provided by the Rockefeller Brothers Fund.

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Critic’s Notebook

In ‘Big Trip,’ an Exiled Russian Director Asks: What Makes Us Human?

Dmitry Krymov’s two shows at La MaMa thrillingly stress the porosity of the line between life and storytelling.

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A woman, who is wearing a brown coat, hat and black sheer gloves, stands onstage with what appears to be a conductor’s baton in her right hand while raising her left hand at face level. Behind the woman, a ballerina in a white top and Juliet skirt sits on the shoulders of an obscured man.

By Elisabeth Vincentelli

The Russian theatermaker Dmitry Krymov’s “Big Trip,” two shows in repertory through mid-October at La MaMa , in Manhattan, is in love with the very essence of theater: how we tell stories, how we make art, how we live.

The productions have no sets to speak of. The costumes and props look as if they have been sourced from thrift shops and Home Depot — one piece makes extensive use of cardboard. Yet we are far from the usual Off Off Broadway seen at incubators like the Brick. The framework here — Pushkin, Hemingway and O’Neill — is drawn from high art, or at least classics some might deem musty. Flares of whimsy, as when the actors don red clown noses, might feel rather European to locals more accustomed to irony. It is safe to say there is nothing else like this on New York stages right now.

This is all very much of a piece for Krymov, but also new territory for him.

Back in Moscow, this acclaimed writer, director and visual artist had access to fairly generous budgets, presented work at fancy institutions and taught his craft to avid students. He earned accolades and traveled the world, including to our shores to present “Opus No. 7” at St. Ann’s Warehouse in Brooklyn (2013), “The Square Root of Three Sisters” at Yale University (2016) and “The Cherry Orchard” at the Wilma Theater in Philadelphia. After that last production’s run ended in spring 2022, Krymov refused to return home because Russia had attacked Ukraine .

Now living in New York, he runs Krymov Lab NYC , an iteration of his Moscow workshop, and collaborates with an English-speaking ensemble. “Big Trip,” their first official outing, consists of the distinct pieces “Pushkin ‘Eugene Onegin’ in Our Own Words,” a retooling of one of his Moscow productions; and “Three Love Stories Near the Railroad,” based on two of Hemingway’s short stories, “Hills Like White Elephants” and “A Canary for One,” and scenes from Eugene O’Neill’s “Desire Under the Elms.”

Krymov does not so much stage classic works as filter them through prisms like memory, notions of cultural heritage and identity, and the very process of theatermaking. (It’s mind-boggling that, according to Tatyana Khaikin, a lead producer of Krymov Lab NYC, none of the city’s established companies have invited him to do a show.)

In “Onegin,” the stronger of the two works, Russian immigrants (Jeremy Radin, Jackson Scott, Elizabeth Stahlmann and Anya Zicer) guide the audience through a retelling of Pushkin’s 19th-century masterpiece about high-society youths facing the demands of love.

They begin by explaining the basics of theater then re-enact scenes from “Eugene Onegin” while essentially annotating the text (throughout both shows, Krymov repeatedly breaks the fourth wall to stress the porosity of the line between life and theater). The central character is a dandy afflicted with spleen, which “is like having American blues,” we are told. “But even worse — it’s having the Russian blues.” (Reflecting on such differences is a Krymov forte: His astonishing memory play “Everyone Is Here,” which is on the streaming platform Stage Russia , intersperses scenes from “Our Town” with the impact a touring American production had on him in the 1970s.)

The issue of watching an exiled Russian director’s work while his country is waging war against Ukraine is actually raised in “Onegin,” which is interrupted by a harangue directed at the cast: “You can’t hide behind your beautiful Russian ‘culture’ anymore. Your culture means destruction and death, and all of your Pushkins, your Dostoevskys and Chekhovs cannot save you.” The show resumes, but the trouble among theatergoers feels real, and so are the questions that have been raised. Should Thomas Mann not have been able to publish in America after he fled Nazi Germany, for example?

The outburst is also representative of the constant interrogation of the source material, all the while reaching deep into its core and extracting the marrow — what makes us human.

The trickiest of the three segments in “Three Love Stories Near the Railroad” is O’Neill’s “Desire Under the Elms,” which will be cryptic for those unfamiliar with the play’s premise and characters. Yet the action is magnetic because of the director’s ability to create absorbing theater in an elemental way, often through deceivingly simple devices. The father and son Ephraim and Eben (Kwesiu Jones and Tim Eliot), using stilts, tower over Abbie (Shelby Flannery), the woman who has upended their lives. It’s a stark representation of power and its often illusory appearance that peaks in a stunning visualization (that I won’t spoil) of Abbie and Eben’s tortured relationship.

In the same show’s “A Canary for One,” the unrolling of a painted sheet suggests passing scenery seen from a train. It’s easy to get lost in the action, despite the fourth-wall breaking. Introducing “Desire,” Radin wondered where the train was. A whistle blew. “It’s very far away, and behind you,” he told us. I knew the train could not possibly be there, and yet I turned around and looked. I’d bought it all.

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Big Trip — A Wild Journey at La Mama

Oct 10, 2023

Big Trip — A Wild Journey at La Mama

By Ron Fassler . . . 

When his country invaded Ukraine, Dmitry Krymov, a theater director of international reputation, was getting ready to come to the United States and direct Anton Chekhov’s The Cherry Orchard in Philadelphia. He left a day later. That was more than a year and a half ago. He’s been here ever since in self-imposed exile.

As a leading light of the Russian theater, he had signed a petition just before boarding his flight, calling for a stop to the war. Though he intended to return (he only packed a small suitcase), it was clear from actions taken by Russian authorities that he wasn’t welcome home. They shut down seven of his nine plays running in Moscow and stripped his name from the posters and programs from the two that remained open. He went from the heights to the depths, losing everything and having to start over again in a country where his English is faulty at best. 

big trip la mama

Thanks to a residency granted him at La Mama, a New York theatrical institution now in its 62nd season, the eponymous Krymov Lab NYC is now making its debut. Over the course of two evenings, running in repertory and presented under the title Big Trip , his shows offer stirring examples of what makes him a unique theater artist. The trips on which he takes the audience are not very big ones but are loaded with original thinking, wonderous images, and intense feelings, all hallmarks of his work. What Krymov does is to take classic texts from the great writers of world literature and turn them inside out, deconstructing them and digging deep for the emotion at the core of the stories they tell. He’s interested in visuals that go against the grain in order to see what thoughts they spark in his actors and his audiences. As an example: he once staged his own version of Don Quixote using no speech or dialogue. What is currently on display in both evenings of Big Trip at La Mama is challenging and often brilliant theater.

Part One is titled Eugene Onegin: In Our Own Words . It is something (but not exactly) like a children’s theater version of Aleksandr Pushkin’s 19th-century novel Eugene Onegin , one of the great works of Russian literature. As explained by one of the evening’s many narrators, who tell us they are all Russian immigrants, “Pushkin cannot be translated. Is like pyramid to cheesecake.” The natural solution is to “use the language of Russian theater,” which they do in the form of telling the story as you would to a child. To that end, when entering the theater, everyone is informed they must bring a child with them. This is a photo of me taken with “Nina”—who chose me more than I chose her—with whom I sat and watched the play.

big trip la mama

Lest you think all will be lighthearted and rendered appropriate for children, best to think again. Within minutes a plant from the audience rises and shouts how inappropriate the cavorting on stage is with children dying every day in Ukraine. The disrupter then pelts one of the narrators with tomatoes, a stunt I’ve often seen in movies for comic relief, but never during a live performance for dramatic purposes. It’s this sort of never knowing what’s coming next that keeps the audience alert, riveted even, with dark humor always lurking around the corner.

The actors in Part One are a wonderful, goofy and charming group. They are led by Jeremy Radin, a bearded bear of a man, who commands the stage with joy and purpose as ringleader (he even employs a red nose at one point). Elizabeth Stahlmann commands, particularly in a long monologue—both disturbing and welcome—that brings a depth to the piece. And then there’s the “Meryl Streep of gooses,” actor Jackson Scott, whose deep, rumbly voice has the power to charm and terrify, as when he tells the puppet children who are seated in the front row just before the play begins, “Now remember—shut up!”

The imaginative staging reminded me of Paul Sills’ Story Theatre , a Broadway show I saw as a teenager that freely adapted stories by the Brothers Grimm and Aesop’s Fables. Directed by Sills, recognized as one of the two great progenitors of theater games (the other was his mother, Viola Spolin), he and Krymov share a love of common props made to represent everything under the sun in ways seemingly born out of improv.

big trip la mama

Part Two: Three Love Stories Near the Railroad offers two plays adapted from short stories by Ernest Hemingway and one based on a scene from Eugene O’Neill’s Desire Under the Elms . Enacted by many of the same actors as well as a few new ones, this second part bears little resemblance to the circus atmosphere of the first, but still manages to dazzle, albeit in a more serious fashion. In adapting these works, Krymov is more interested in mining what he can from them, robbing their essence and putting them in a context that allows him to explore the feelings they bring up for him and his actors. It’s as deconstructive as the set, which for the three plays is a mass of cardboard, flats and abandoned props piled high upstage. He loves detritus, which is the architecture of the space in which Eugene Onegin is staged. 

If you appreciate fanciful approaches to drama, never stooping to cutesy or twee, this is the kind of theater that will warm and nourish you like the best chicken soup. I mean, where else can you be treated towards the end of being told a great Russian story by the appearance of Kermit the Frog?

Big Trip . Through October 15 (in repertory) at La Mama’s Ellen Stewart Theatre (66 East 4th Street, between Second Avenue and The Bowery). www.lamama.org  

Photos: Bronwen Sharp

Cover photo: Jeremy Radin and Anya Zicer

big trip la mama

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big trip la mama

BIG TRIP: THREE LOVE STORIES NEAR THE RAILROAD

big trip la mama

Krymov Lab NYC makes big debut with the two-part Big Trip at La MaMa

BIG TRIP La MaMa Experimental Theatre Club The Ellen Stewart Theatre 66 East Fourth St. between Second Ave. & Bowery September 24 – October 15, $45 212-475-7710 www.lamama.org www.krymovlabnyc.com

Moscow-born director, designer, and visual artist Dmitry Krymov makes a smashing debut with his new company, Krymov Lab NYC, in Big Trip, two shows running in repertory at La MaMa through October 15.

Krymov was preparing a production of The Cherry Orchard in Philadelphia in February 2022 when Russia invaded Ukraine. Condemning Putin’s actions, he became an exile and moved to New York City with his wife, Inna, where he started Krymov Lab NYC. The first part of Big Trip is Pushkin “Eugene Onegin” in our own words, an absurdist adaptation of Alexander Pushkin’s classic serial novel in verse, following the adventures of four Russian émigrés in downtown Manhattan.

You don’t need to have seen the first part to fall in love with the second, Three Love Stories Near the Railroad, Krymov’s wild and woolly, wholly unpredictable retellings of Ernest Hemingway’s four-pages-each “Hills Like White Elephants” and “A Canary for One,” followed by act two, scenes two and three of Eugene O’Neill’s Desire under the Elms.

With a dash of Brecht here and a dollop of Ionesco there, Krymov brings a circusike atmosphere to La MaMa, where most of the audience sits in rising rafters but some in semicircular rows on the stage. Emona Stoykova’s set is anchored by a dilapidated wall of cardboard splashed with white paint, with random objects on the floor buried in the rubble.

Host and guitar player Jackson Scott introduces the show. He constructs a table and chairs from the detritus. He tells clarinetist Erich Rausch that he’s not supposed to be here tonight and that the union will not allow him to get paid if he stays. The cast of nine sits stage right and makes costume changes in front of the audience because, as Jackson explains, “The dressing rooms at La MaMa are incredibly far away, and the last time we did this show, sometimes the actors didn’t manage to get here in time for their entrances. So that’s why they are all going to sit here, alright?”

big trip la mama

Props are casually tossed around in Dmitry Krymov’s unpredictable Big Trip

Jackson orders the audience not to clap until all three works have concluded. “It is one single piece, like a symphony,” he says. Jackson also unveils the train, a model that putt-putts across the stage in the back.

Thus, right from the start, we are aware that this evening will be as much about the art of making theater as it will be about the art of performance itself.

In “Hills Like White Elephants,” a young couple (Tim Eliot and Shelby Flannery) is on a train going from Madrid to Barcelona. Although they never say the word abortion — echoing O’Neill’s 1914 one-act, Abortion, in which the title word is never uttered — it appears that they are on their way to end the woman’s pregnancy. “I know lots of people who have done it and it’s really very simple,” the man assures the woman. “And things will be like they were and you’ll love me again?” the woman asks. They order two Budweisers in a café and the bartender (Jeremy Radin) brings them two cups of shaving cream. A tall, bare-chested man (Kwesiu Jones) representing the unborn child dances around the woman and lays his head in her lap.

In “A Canary for One,” the bartender has taken over the narration, complaining about his disintegrating underwear. A man and a woman (Eliot and Flannery) are on their way to Paris to end their marriage. In their compartment is an older American woman (Annie Hägg) traveling with a shedding yellow canary. The scenery unfolds behind them from a scroll pulled open by an assistant named Shlomo (Anya Zicer) consisting primarily of black-and-white drawings of houses, people, and landscapes, as the host relates the tale, with limited spoken dialogue. Inventive things are done with luggage, cigarettes, and bread as the train continues on its way.

big trip la mama

Big Trip concludes with scenes from Desire under the Elms

The evening finishes with a farcical reinvention of two scenes from Desire under the Elms involving the elderly Ephraim Cabot (Jones); his young wife, Abby (Flannery); and Ephraim’s ne’er-do-well son, Eben (Eliot). Cabot berates his son, calling him “a waste of my seed.” Abby loves Eben, who only has eyes for his dead mother. Ephraim and Eben walk around on long metal stilts, making movement comically difficult and ridiculous as they tower over Abby. Beneath all the pain and anguish, Abby has hope. “I hate you. I don’t need anything from you,” Eben tells Abby, who replies, “Don’t lie to me. I could feel the tenderness in your hands.”

The ninety-minute Big Trip is fun and frantic, filled with delightful non sequiturs, playfully silly song and dance, and hilarious self-referential nonsense. Each member of the crew deserves kudos: The choreography is by Baye&Asa and Rachel McMullin, with costumes and puppets by Luna Gomberg, sound by Kate Marvin, lighting by Krista Smith, and projections by Yana Biryukova.

The play also has a serious edge, with a dark take on relationships, whether between husband and wife or parent and child. Both Hemingway stories are drawn from his seminal 1927 collection, Men without Women, published just as Hemingway was gaining success as a writer, during the three-year period that included The Torrents of Spring, The Sun Also Rises, and A Farewell to Arms as well as his divorce from Hadley Richardson and marriage to Pauline Pfeiffer, the second of his four wives. Desire debuted in 1924, while O’Neill was married to the second of his three wives, Agnes Boulton.

“They never know what they want, these directors,” the host tells a stagehand. But writer, director, and adaptor Krymov knows precisely what he wants, even amid improvisation, building a unique kind of theater by exposing and transforming its conventions. As the script notes about “A Canary for One”: “This is a small scene. It doesn’t even pretend to be a play. It’s an idiotic, very small scene. But it is honest about what it is.”

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here. ]

All materials copyright © 2021 by Mark Rifkin / This Week in New York

BroadwayWorld

La MaMa Announces 62nd Season And Expansion Of RADICAL ACCESS INITIATIVE

Season to include Krymov Lab, Estelle Parsons, En Garde Arts, Ain Gordon, Puppet Series, Motus, Truth Bachman, Rawya El Chab and more. 

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La Mama Experimental Theatre Club announces its 62nd Season and its RADICAL ACCESS INITITATIVE (RAI), an expansion of La MaMa's local and global network that increases outreach to new artists and audiences beyond the four walls of La MaMa's three theatres and new Community Arts Space. Providing multiple access points to the art and the creative process, RAI programming includes creative exchanges, workshops, community programs, digital storytelling, and more with artists and communities that wasn't possible before. 

According to La MaMa Artistic Director, Mia Yoo, “La MaMa has always been a place for those outside the mainstream.  During this time of rapid technological and environmental change, and political disruption, how can art deepen our ability to see and understand each other? Theatre can bring people together in groundbreaking and revolutionary ways. There is a need for all of us to respond with urgency.”

RADICAL ACCESS comes on the heels of La MaMa's 61st season when the company saw its attendance surpass pre-Covid records, and the re-opening of its newly renovated, original theater at 74A East 4 Street. That building's $24 million makeover provides the return of the fully accessible Club, a new Community Arts Space for neighboring groups in the East Village, and an expanded public lobby and galleries. Earlier this year, La MaMa received a Special Citation for Ongoing Achievement from the New York Drama Critics Circle, having previously received the 2018 Tony Award for Outstanding Regional Theatre. A host of artists and shows from around the globe will be presented on La MaMa's stages, including Dmitry Krymov , Oscar-winner Estelle Parsons , En Garde Arts, the Slovak-American artist Pavel Zustiak , Bulgarian performer Ivo Dimchev and his In Hell with Jesus, French choreographer Ashley Chen, John Jarboe /The Bearded Ladies Cabaret, J-CHOES a new music-theatre work set to live music by John Cage , Hans Otte and Erik Satie , the rock opera The Poisoner by Maura McCarthy, Edward Einhorn 's adaptation of the history's oldest-known Jewish play, three-time Obie winner Ain Gordon , Anne Bogart + Talking Band, TONY-award nominee, John-Andrew Morrison in the title role in H.M. Koutoukas ' Medea Of The Laundromat, La MaMa Puppet Festival, and many more. The 62nd Season will also feature work from artists: Justin Elizabeth Sayre, Rawya El Chab, Loose Change Productions, Belova ~ Iacobelli Theatre Company, Joyce Griffen , Alex Aron, Morgan Bassichis, Ian Andrew Askew, Truth Bachman, and the La MaMa Squirts program. The Season will open with the American debut of exiled Russian theater director Dmitry Krymov 's BIG TRIP, his singular theatrical vision that explores both American and Russian cultures through the decades, with performances at the Ellen Stewart Theatre (66 E. 4 St.) from September 23 to October 15, 2023. This work was previously workshopped during an artist residency at La MaMa last season. As well, La MaMa's celebrated PUPPET FESTIVAL – curated by Denise Greber – will take place in the company's numerous venues from November 2 to 18, including: Motel by Dan Hurlin ; Tom Lee's world premiere, Sounding the Resonant Path with Japanese Kuruma Ningyo puppetry depicting the connection between humans and nature; The Healing Shipment by Maria Camia; Tricyckle by Les Sages Fous, about a scrap-metal collector who travels through a fantastical world on his tricycle; and The Pact by Aaron Haskell about the Mother Goddess who returns to earth to guide the world. More to be announced.

THE 2023-24 LA MAMA SEASON 

Fall/winter 2023-2024:.

--BIG TRIP by Krymov Lab NYC, directed by Dmitry Krymov . Explores American and Russian cultures past and present through unique theatrical adaptations of such iconic writers as Hemingway, Pushkin and O'Neill. (Sept. 23-Oct. 15) --HELEN by En Garde Arts, written by Cailin George, directed by Violeta Picayo . A SuperGeographics production of a funny, feminist riff on a familiar myth, Helen. is a story you know - told in a way that you don't. (Oct. 12-29, 2023) --HEBEL by Palissimo Company, directed and choreographed by Pavel Zustiak . Hebel – from the ancient Book of Ecclesiastes with its various translations from vanity to absurdity – asks “What do you take from all your work?” and draws us into a charged exploration of our life's quest for meaning. (Oct. 19-22, 2023) --LA MAMA PUPPET FESTIVAL curated by Denise Greber . This international collection of puppet works includes shows by Tom Lee, Dan Hurlin , Maria Camia, Maiko Kikuchi, Les Sages Fous, Aaron Haskell , Jump Start: puppet works in progress by four resident artists: Charlotte Lily Gaspard , Evolve Puppets, Tristan Allen and Marcella Murray. Other events include: La MaMa Kids family programming with The Gottabees (Bonnie Duncan) and Puzzle Theatre; and the La MaMa Puppet Slam curated by Jane Catherine Shaw . (Nov. 2-18, 2023) --IN HELL WITH JESUS by Ivo Dimchev. The U.S. premiere of the Bulgarian choreographer/singer/songwriter's performance about six people who are resurrected after having been gunned down in a gay bar.  A visual artist, as well, Dimchev is known for his works Facebook Theater, X-On And Lili Handel. (Nov. 16-26, 2023) -- UNISSON, RUSH, DISTANCES A TRIPTYCH by choreographer/performer Ashley Chen, founder of dance company Kashyl. Mr. Chen has set his newest work – a triptych – with 8 dancers in an exploration of how movement can be a tool to forge a sense of sharing and unity as part of Villa Albertine's 2023 Dance Season. (Nov. 30-Dec. 10, 2023) -- A STARLESS DEEP a new music-theatre work by Dane Terry.  Dane Terry is a multi-media story-maker, performer and composer. He has made stories and music for all sorts of rooms and situations and with all sorts of people. Works for stage include Jupiter's Lifeless Moons (PSNY 2018) and Bird In The House (La MaMa 2015, Under The Radar Festival 2016). (Dec. 1-10, 2023) --CHRISTMAS IN NICKYLAND, curated and hosted by Nicky Paraiso . A downtown holiday favorite with Nicky Paraiso as the master of ceremonies. Each night there will be a holy host of characters singing, dancing, gender-bending, and merry making, all to get you into the East Village spirit of the season. (Dec. 16-17, 2023) --ROSE: YOU ARE WHAT YOU EAT written and performed by John Jarboe , directed by MK Tuomanen. A theatrical co-world-premiere with Woolly Mammoth Theatre Company and Cultural DC. Described as a true story – told to Mr. Jarboe, a twin, by his aunt – of fetal cannibalism and gender feasting, set to music. (Jan. 5-15, 2024) --OF THE NIGHTINGALE I ENVY THE FATE by Motus and directed by Daniela Nicolò, Enrico Casagrande with Stefania Tansini; dramaturgy Daniela Nicolò.  A contemporary exploration of the Oresteia by Italy's Motus (MDLSX, Nella Tempesta at La MaMa) with Stefania Tansini as the prophetess Cassandra. (Jan. 10-14, 2024) --CHORNOBYLDORF: ARCHEOLOGICAL OPERA IN SEVEN NOVELS part of the Prototype Festival, Composed and directed by Roman Grygoriv and Ilia Razumeiko, Libretto by Yurii Izdryk, Publii Ovidii Nazon, Ivan Kotlyarevskyy, and Ilia Razumeiko Chornoblydorf is a Ukrainian post-apocalyptic fantasy, which combines folk and classical singing with physical theater, dance, unique musical instruments and cinematic video-novels. (Jan. 11-21, 2024)

Winter/Spring 2024:  

--ARISTOTLE THINKS AGAIN, is part of Great Jones Rep's Humanismo: Ancient Futures Series, directed by Dan Safer (Witness Relocation) with original text from playwright Chuck Mee, music composed by Julia Kent, set designed by Sara Brow. The work continues a company June 2020 online workshop performance with Safer. Great Jones Rep members are joined by guest performer Marcus McGregor to explore Greek tragedies, post-apocalyptic possibilities, how awful people are, and how awesome it can be to exist on the planet. (Jan. 25-Feb. 4, 2024) --EXISTENTIALISM by Talking Band, created and directed by Anne Bogart . The award-winning troupe marks its 50th anniversary with a new work set in two tiny houses, side by side in a vast space, where a woman lives in one, a man in the other. They are a couple, both close and apart. (Feb. 22-Mar. 10, 2024)

--AMERICAN ROT by Kate Taney Billingsley, directed by Estelle Parsons . Is set in a diner off the New Jersey Turnpike, members of two historically linked families meet: Jim Taney, a descendant of Chief Justice Robert Taney who penned the infamous Dred Scott decision in 1857, seeks to apologize to Walter Scott , a descendant of the formerly enslaved Dred Scott. (Mar. 14-31, 2024) --J-CHOES by Ingo Ahmels. J-CHOES asks “What if Erik Satie visited a musical-culinary feast of artist friends John Cage and Hans Otte?  Written collaboratively by Ingo Ahmels from Germany, and Canada's Lou Simard, J-CHOES is a new music theatre piece that imagines three iconoclastic composers at a sumptuous meal and piano in Cage's NYC loft in 1991. (Mar. 21-31, 2024) --SWIMMING WITH LESBIANS written and performed by Marga Gomez , directed by John Breen . Gomez's 14th solo play is a sapphic seafaring spoof that takes place aboard the world's oldest lesbian cruise ship, The Celesbian. (Mar. 28-April 7, 2024) --THE POISONER by Maura McCarthy. A rock opera in the ballad opera tradition, about a city worker who is desperate to keep his job and allows a governor to coerce him into choosing a contaminated river to supply the public drinking water where the worker's own family resides. (Mar. 28-April 7, 2024) --A new work by award-winning interdisciplinary artist and theater director Theodora Skipitares . Trained as a sculptor and designer, she is the author/director of more than 25 performance works, each featuring documentary texts, original music, video, and as many as 300 puppet figures. (April 4-21, 2024) --TONY-award nominee, John-Andrew Morrison takes on the title role in a revival of H.M. Koutoukas ' Medea of the Laundromat. The “ritualistic camp” premiered in 1965 at Café LaMaMa E.T.C. before moving on to Café Cino & Theatre Genesis. It was regarded by the Village Voice as a work so “eccentric as to be nearly unthinkable.” Cast includes Jason Howard (Jason) & Jenne Vath (Nurse); Costumes by multiple EMMY-award winner, Sally Lesser ; and Direction, Set/Light design by Arthur Adair. (April 18-28, 2024) --EXAGOGE, with music by Avner Finberg, script, libretto, and direction by Edward Einhorn . Based on an ancient Greek play by Ezekiel the Tragedien, Exagoge is described as an immersive opera/play/Passover seder, based on the oldest known Jewish play written in Alexandria in the 2nd century BCE. In this case, a composer brings his non-practicing Muslim girlfriend home for the first time – for seder.  A production of Untitled Theater Company, whose previous La MaMa productions include Iphigenia In Aulis and The God Projekt. (April 25-May 12) --LA MAMA MOVES! DANCE FESTIVAL curated by Nicky Paraiso . Continues to support La MaMa's commitment to presenting diverse performance styles that challenge audiences' perception of dance by featuring performance/installations, experimental film screenings and public symposiums which address dance artists' engagement with the current political climate. (May 16-26, 2024) --HOW TO EAT AN ORANGE, written by Catherine Filloux, directed by Elena Araoz , featuring Florencia Lozano .  A new play about the visual artist and activist Claudia Bernardi, her childhood in Argentina under the military junta, and her subsequent work digging up the past. Histories are woven together in a kaleidoscopic play that depicts how both families and justice may be reconfigured. Catherine Filloux is a French/Algerian/American award-winning playwright, librettist, and activist. (May 30-June 16, 2024) --RELICS AND THEIR HUMANS by Ain Gordon and Josh Quillen. The 3-time OBIE-winner, writer/director/performer Ain Gordon partners with composer/performer Josh Quillen and dramaturg Talvin Wilks and lighting designer Jennifer Tipton about a family's 3-year odyssey following their father's ALS diagnosis.  The piece builds on the team's most recent collaboration at Baryshnikov Arts Center, Radicals In Miniature. (June 20-30, 2024) --A Recreation of Frank Maya Cub show from 1987 By Morgan Bassichis (June 2024) La MaMa will also present its ongoing series including Poetry Electric, La MaMa Kids, Coffeehouse Chronicles and the 25th anniversary of the MaMa Experiments Play Reading Series. Tickets for all shows start at only $10! Memberships available.  Ticket prices include all fees.  www.lamama.org   Tickets on sale Aug. 15

La Mama Experimental Theatre Club is dedicated to the artist and all aspects of the theatre. La MaMa's 62nd Radical Access Season comes on the heels of our 61st season when we re-opened our newly renovated, original theater at 74 E. 4th St. The building's $24 million makeover provides the return of the fully accessible Club, a new Community Arts Space for neighboring groups in the East Village, and an expanded public lobby and galleries. As an experimental theatre, La MaMa is always adapting to the needs of its community. In this time of deep division in our society and around the world, La MaMa felt an urgency to create a way for artists to respond. The Radical Access Initiative (RAI) was born out of this need. RAI connects local artists and audiences to people and communities around the world in shared artistic experiences to spark creativity and human understanding that wasn't possible before. La MaMa has been honored with 30+ Obie Awards, dozens of Drama Desk, Bessie Awards, Villager Awards, the 2018 Regional Theatre Tony Award, and most recently a 2023 New York Drama Critics' Circle Special Citation. We are a creative home to artists and resident companies from around the world, many of whom have made lasting contributions to the arts, including Blue Man Group,  Bette Midler ,  Ed Bullins ,  Ping Chong , Jackie Curtis, André De Shields, Adrienne Kennedy,  Harvey Fierstein ,  Diane Lane , Playhouse of the Ridiculous,  Tom Eyen , Pan Asian Rep, Spiderwoman Theater, Tadeusz Kantor,  Marc Shaiman  and  Scott Wittman ,  Mabou Mines ,  Meredith Monk ,  Peter Brook , David and  Amy Sedaris ,  Julie Taymor , Kazuo Ohno, Tom O'Horgan, Andrei Serban , Liz Swados, and  Andy Warhol . La MaMa's vision of nurturing new artists and new work from all nations, cultures, races and identities remains as strong today as it was when  Ellen Stewart  first opened the doors in 1961.

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Where: La MaMa Experimental Theatre Club (Ellen Stewart Theater, 66 East 4th St NYC NY) What: A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together two pieces—Alexander Pushkin’s EUGENE ONEGIN in our own words and the World Premiere of THREE LOVE STORIES NEAR THE RAILROAD—for the full New York debut of Krymov’s singular creative vision. When: BIG TRIP plays the following schedule through Sunday, October 15:

Big Trip 1: Pushkin “Eugene Onegin” In Our Own Words Sunday, September 24 at 2PM – preview Friday, September 29 at 7PM – Opening Saturday, September 30 at 2PM and 7PM Sunday, October 1 at 2PM Friday, October 6 at 7PM Saturday, October 7 at 2PM and 7PM Sunday, October 8 at 2PM Tuesday, October 10 at 7PM – GALA PERFORMANCE Wednesday, October 11 at 7PM Big Trip 2: Three Love Stories Near the Railroad Tuesday, September 26 at 7PM – Preview Wednesday, September 27 at 7PM – Opening Thursday, September 28 at 7PM Tuesday, October 3 at 7PM Wednesday, October 4 at 7PM Thursday, October 5 at 7PM Thursday, October 12 at 7PM Friday, October 13 at 7PM Saturday, October 14 at 2PM and 7PM Sunday, October 15 at 2PM How: https://www.lamama.org/shows/big-trip-2023

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Opening Date: Sep 24, 2023

Closing Date: Oct 15, 2023

Big Trip

La MaMa - Ellen Stewart Theatre

66 East 4th Street New York City, NY 10003-8903

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Performance Schedule:

Big Trip's two parts are performed in repertory. Visit lamama.org for full performance schedule.

Dmitry Krymov

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M8 Local service between West Village & East Village8th / 9th Streets Crosstown Stop at - 2nd Avenue by way of 9th Street (westbound) and 8th street (eastbound). M15 Local and limited - stop service between East Harlem and Lower Manahattan First / Second Avenues Stop at - 4th Street by way of 2nd Avenue (southbound) and 1st Avenue (northbound)

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N, R Broadway Line Take N or R train to the 8th Street / NYU stop. 6 Lexington Line Take the 6 train to the Astor Place stop F 6th Avenue Line Take the F train to the 2nd Avenue stop.

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Elevator access to the box office on the mezzanine and the theater on the 2nd floor.

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Capacity: 299

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VIEWPOINTS – Superb specimens of downtown theater this fall: Dmitry Krymov’s BIG TRIP at La MaMa and Max Wolf Friedlich’s JOB at SoHo Playhouse

  • By drediman
  • October 16, 2023
  • No Comments

This autumn, I had the great pleasure taking in superb specimens of downtown theater that had me reeling with their exceptional quality. Here are my thoughts on them.

BIG TRIP La MaMa Closed

Down at La MaMa — that venerable East Village hotbed for experimental theater — I caught the closing performance of  Big Trip   (HIGHLY RECOMMENDED)  from visionary director Dmitry Krymov. The sold out two-production endeavor also marks the exiled Russian artist’s full American debut (he now calls New York home). The first installment — entitled  Pushkin “Eugene Onegin” in our own words — attempts to articulate the the Russian literary classic  Eugene Onegin  to a roomful of American children. In the process, Krymov and his company question the merits of classic works, especially those that literally get lost in translation. Then there’s  Big Trip ’s second part  Three love stories near the railroad , which uses a pair of short stories by Ernest Hemingway ( Hills Like White Elephants ,  A Canary for One ) and a Eugene O’Neill play ( Desire Under the Elms ) to examine the notion of love in its various prismatic iterations. Both productions feature a single extraordinary company which Krymov himself has assembled and reared. Vitally present, they create arresting and poetic theater in the most elemental sense — one in which invention and play feel ever so spontaneous and alive, and the possibilities of storytelling and expression limitless. Despite a shoestring budget (or maybe because of it?) witnessing both works were heady, invigorating masterclasses in the act of creation itself. All in all, the decision to include Krymov’s  Big Trip  in its fall season represents a triumphant piece of programming by the folks at La MaMa.

JOB SoHo Playhouse Through October 29

Then over on the west side of Manhattan (but still downtown!), SoHo Playhouse has also hit the bullseye, currently selling out houses with Max Wolf Friedlich’s new two-character play  Job   (HIGHLY RECOMMENDED) . Tersely and at times surreally directed by Michael Herwitz and featuring sizzling performances by Peter Friedman and Sydney Lemmon, the piece is in essence a hybrid between a revenge play and a battle royal between the sexes (and generations). In more ways than one, it calls to minds David Mamet’s 1992 two-hander  Oleanna  — but instead of that earlier work’s vaguely wrought (albeit tense) exchanges, Friedlich’s play ultimately hinges on the details. Over the course of the work’s unpredictable, masterfully paced 80-minutes, the playwright sinuously reveals key information, keeping the audience jarringly off-balance until the shocking and unnerving final tableau. Indeed,  Job  is one of those rare theatrical works in which the playwright is truly one step ahead of the audience. In terms of performances, Lemmon is both disturbing and disarming in her portrayal of a deeply troubled young woman who has been seemingly let go from her stressful job (no spoilers here). In turn unhinged and incredibly lucid, it’s a searing performance that really got under my skin. Playing her therapist and foil, Friedman on the other hand seems to be the voice of reason for much of the play — until he’s not (again, no spoilers!). It’s a subtle piece of acting that contrasts gorgeously with Lemmon’s combustible performance. 

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A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together two pieces—Alexander Pushkin’s EUGENE ONEGIN in our own words and the World Premiere of THREE LOVE STORIES NEAR THE RAILROAD—for the full New York debut of Krymov’s singular creative vision.

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In ‘Big Trip,’ an Exiled Russian Director Asks: What Makes Us Human?

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In ‘Big Trip,’ an Exiled Russian Director Asks: What Makes Us Human?

The Russian theatermaker Dmitry Krymov’s “Big Trip,” two shows in repertory through mid-October at La MaMa , in Manhattan, is in love with the very essence of theater: how we tell stories, how we make art, how we live.

The productions have no sets to speak of. The costumes and props look as if they have been sourced from thrift shops and Home Depot — one piece makes extensive use of cardboard. Yet we are far from the usual Off Off Broadway seen at incubators like the Brick. The framework here — Pushkin, Hemingway and O’Neill — is drawn from high art, or at least classics some might deem musty. Flares of whimsy, as when the actors don red clown noses, might feel rather European to locals more accustomed to irony. It is safe to say there is nothing else like this on New York stages right now.

This is all very much of a piece for Krymov, but also new territory for him.

Back in Moscow, this acclaimed writer, director and visual artist had access to fairly generous budgets, presented work at fancy institutions and taught his craft to avid students. He earned accolades and traveled the world, including to our shores to present “Opus No. 7” at St. Ann’s Warehouse in Brooklyn (2013), “The Square Root of Three Sisters” at Yale University (2016) and “The Cherry Orchard” at the Wilma Theater in Philadelphia. After that last production’s run ended in spring 2022, Krymov refused to return home because Russia had attacked Ukraine .

Now living in New York, he runs Krymov Lab NYC , an iteration of his Moscow workshop, and collaborates with an English-speaking ensemble. “Big Trip,” their first official outing, consists of the distinct pieces “Pushkin ‘Eugene Onegin’ in Our Own Words,” a retooling of one of his Moscow productions; and “Three Love Stories Near the Railroad,” based on two of Hemingway’s short stories, “Hills Like White Elephants” and “A Canary for One,” and scenes from Eugene O’Neill’s “Desire Under the Elms.”

Krymov does not so much stage classic works as filter them through prisms like memory, notions of cultural heritage and identity, and the very process of theatermaking. (It’s mind-boggling that, according to Tatyana Khaikin, a lead producer of Krymov Lab NYC, none of the city’s established companies have invited him to do a show.)

In “Onegin,” the stronger of the two works, Russian immigrants (Jeremy Radin, Jackson Scott, Elizabeth Stahlmann and Anya Zicer) guide the audience through a retelling of Pushkin’s 19th-century masterpiece about high-society youths facing the demands of love.

They begin by explaining the basics of theater then re-enact scenes from “Eugene Onegin” while essentially annotating the text (throughout both shows, Krymov repeatedly breaks the fourth wall to stress the porosity of the line between life and theater). The central character is a dandy afflicted with spleen, which “is like having American blues,” we are told. “But even worse — it’s having the Russian blues.” (Reflecting on such differences is a Krymov forte: His astonishing memory play “Everyone Is Here,” which is on the streaming platform Stage Russia , intersperses scenes from “Our Town” with the impact a touring American production had on him in the 1970s.)

The issue of watching an exiled Russian director’s work while his country is waging war against Ukraine is actually raised in “Onegin,” which is interrupted by a harangue directed at the cast: “You can’t hide behind your beautiful Russian ‘culture’ anymore. Your culture means destruction and death, and all of your Pushkins, your Dostoevskys and Chekhovs cannot save you.” The show resumes, but the trouble among theatergoers feels real, and so are the questions that have been raised. Should Thomas Mann not have been able to publish in America after he fled Nazi Germany, for example?

The outburst is also representative of the constant interrogation of the source material, all the while reaching deep into its core and extracting the marrow — what makes us human.

The trickiest of the three segments in “Three Love Stories Near the Railroad” is O’Neill’s “Desire Under the Elms,” which will be cryptic for those unfamiliar with the play’s premise and characters. Yet the action is magnetic because of the director’s ability to create absorbing theater in an elemental way, often through deceivingly simple devices. The father and son Ephraim and Eben (Kwesiu Jones and Tim Eliot), using stilts, tower over Abbie (Shelby Flannery), the woman who has upended their lives. It’s a stark representation of power and its often illusory appearance that peaks in a stunning visualization (that I won’t spoil) of Abbie and Eben’s tortured relationship.

In the same show’s “A Canary for One,” the unrolling of a painted sheet suggests passing scenery seen from a train. It’s easy to get lost in the action, despite the fourth-wall breaking. Introducing “Desire,” Radin wondered where the train was. A whistle blew. “It’s very far away, and behind you,” he told us. I knew the train could not possibly be there, and yet I turned around and looked. I’d bought it all.

The post In ‘Big Trip,’ an Exiled Russian Director Asks: What Makes Us Human? appeared first on New York Times .

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New York City | Local Event

Big Trip

Event Details

La MaMa is proud to present KRYMOV LAB NYC’s inaugural mainstage repertory, BIG TRIP , directed by Dmitry Krymov at La MaMa’s legendary Ellen Stewart Theater (66 East 4th St., NYC). A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together adaptations of Pushkin, Hemingway and O’Neill in the full New York debut of Krymov’s unique creative vision. An internationally renowned luminary hailed by Elisabeth Vincentilli of the New York Times as “one of the world’s finest theater-makers,” Krymov and his new American company mark their arrival on the New York stage with this spectacular yet deeply personal exploration of life, love, loss, and theatre itself.

BIG TRIP will play a three-week limited engagement with performances beginning Sunday, September 24 and continuing through Sunday, October 15. Tickets are $45 ($40 students/seniors) and are available at https://www.lamama.org/shows/big-trip-2023 .

Press performances are: Sunday, September 24 and Friday, September 29 for Part 1: Pushkin ‘Eugene Onegin” in our own words. Wednesday, September 27 and Thursday, September 28 for Part 2: Three love stories by the railroad.

Part 1 - Pushkin ‘ EUGENE ONEGIN’ In Our Own Words is a simultaneously raucous and sobering journey through the past and future of a major cultural touchstone. In it, four oddball emigrées arrive in downtown NYC to tell us the intertwined stories of the great poet Alexander Pushkin and his magnum opus, “Eugene Onegin”. At once a deeply personal meditation on loss and a caravan of absurd delights, Onegin will delight and challenge audiences of all ages with Krymov’s singular theatrical style.

Part 2 - THREE LOVE STORIES NEAR THE RAILROAD marks the very first time that Krymov has adapted the work of American writers: Hemingway’s "Hills Like White Elephants" and "A Canary for One" collide with O’Neill’s "Desire Under the Elms" in an extravagant dance across centuries. American couples grapple with indomitable spirits outside a Spanish countryside train cantina and then in a railway car across the Continent, and then too-tall men are whipped around the stage by a whirlwind woman. Krymov’s first full plunge into the depths of American literature is boisterous, daring, unforgettable—and unmissable.

BIG TRIP plays the following schedule through Sunday, October 15: 

Big Trip 1: Pushkin "Eugene Onegin" In Our Own Words

Sunday, September 24 at 2PM - preview Friday, September 29 at 7PM - Opening Saturday, September 30 at 2PM and 7PM Sunday, October 1 at 2PM Friday, October 6 at 7PM Saturday, October 7 at 2PM and 7PM Sunday, October 8 at 2PM Tuesday, October 10 at 7PM - GALA PERFORMANCE Wednesday, October 11 at 7PM

Big Trip 2: Three Love Stories Near the Railroad

Tuesday, September 26 at 7PM - Preview Wednesday, September 27 at 7PM - Opening Thursday, September 28 at 7PM Tuesday, October 3 at 7PM Wednesday, October 4 at 7PM Thursday, October 5 at 7PM Thursday, October 12 at 7PM Friday, October 13 at 7PM Saturday, October 14 at 2PM and 7PM Sunday, October 15 at 2PM

Tickets are $45 or $40/student and senior ($10 for the first 10 sold) and are now available online at https://www.lamama.org/shows/big-trip-2023 . Tickets may also be purchased in-person at the theater one-hour prior to performance.

Running Time: 100 minutes

Website: www.KrymovLabNYC.com

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  • Big Trip: Part 2 – Three Love Stories Near a Railroad

Krymov Lab NYC’s inaugural repertory season offers us an engaging collection of 1920s slice-of-life Americana courtesy of Ernest Hemingway and Eugene O’Neill.

Posted on October 18, 2023 by Tony Marinelli in Off-Broadway , Plays

Share your thoughts in the comment section below.

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Shelby Flannery and Tim Eliot in a scene from Krymov Lab NYC’s “Big Trip: Three Love Stories Near a Railroad” at the Ellen Stewart Theater at The LaMaMa Experimental Theatre Club (Photo credit: Bronwen Sharp)

Tony Marinelli

Tony Marinelli, Critic

Director Dmitry Krymov had nine different shows playing in theaters in Moscow the day after Putin invaded Ukraine. The popularity of his brand of theater more than rivals how New Yorkers once kept five Andrew Lloyd Webber musicals running concurrently on Broadway. But his co-signing a letter protesting the invasion meant seven of those shows were closed the next day, his name was stricken from the other two, and he and his wife became exiles.

Three Love Stories Near a Railroad came out of an “emergency residency” offered to Krymov by La Mama Experimental Theatre Club last year. It has been presented with another play, Pushkin “Eugene Onegin” In Our Own Words, which has been playing in repertory with Three Love Stories Near a Railroad for this very impressive inaugural season of Krymov Lab NYC, Krymov’s American acting troupe.

To say that Krymov works like no other director is an understatement not to be taken lightly. He is known for his inventive Russian adaptations, but he has also been earning a reputation for tackling American literature with the same whimsical and sometimes fourth wall-smashing approach that emphasizes the pure act of theater making. It is at first quite disarming in its playfulness, yet never loses sight of sincere treatment of works of literature.

big trip la mama

Kwesiu Jones, Erich Rausch, Tim Eliot, Annie Hägg, Jeremey Radin and Shelby Flannery in a scene from Krymov Lab NYC’s “Big Trip: Three Love Stories Near a Railroad” at the Ellen Stewart Theater at The LaMaMa Experimental Theatre Club (Photo credit: Bronwen Sharp)

Here we find two Ernest Hemingway short stories, Hills Like White Elephants  and A Canary for One , both written in the late 1920’s, matched with two scenes that serve as dense character portraits from Eugene O’Neill’s Desire Under the Elms , circa 1924. They are not your normal fare when you consider the expectations of the term “love story.”

Hills Like White Elephants examines the relationship of a man and woman as they wait at an outdoor bar/café for the next train from Madrid to Barcelona. The reason for the trip? They are going to see a doctor that will abort the child the woman is now carrying. The word “abortion” is never spoken, but the implication is there. The man assures the woman, “I know lots of people who have done it and it’s really very simple.” The woman is not sure that will be the end to all their problems, “And things will be like they were, and you’ll love me again?”

A Canary for One finds another couple on a train bound for Paris. The reason for their trip? They are getting a divorce. Their distractions during this trip include a stage assistant unraveling a virtually endless muslin scroll of scenery and an older American woman traveling with a canary that is shedding its bright yellow feathers at a fierce pace. For the dance aficionados in the audience, this might offer a reminder of Les Ballets Trockadero de Monte Carlo’s dancer Paul Ghiselin’s drag character, ballerina Ida Nevasayneva, as the hilarious molting Dying Swan.

big trip la mama

Annie Hägg, Tim Eliot and Shelby Flannery in a scene from Krymov Lab NYC’s “Big Trip: Three Love Stories Near a Railroad” at the Ellen Stewart Theater at The LaMaMa Experimental Theatre Club (Photo credit: Bronwen Sharp)

The third pairing is Abby and her stepson Eben from Desire Under the Elms. She is married to Ephraim, Eben’s father, but feels nothing for him. She is a dutiful wife but endures physical and mental abuse at Ephraim’s hands. She is attracted to Eben, but his life revolved around his now deceased mother, and he is vehement in his hatred for Abby in that he sees her as trying to replace his missing parent. The scenes selected focus on the absolute absence of love in this trio.

Krymov does so much with very little. What appears to be a bare stage actually reveals a toy train on an elevated railway. For the most part, the train’s journey is hidden by tall upright discarded cardboard pieces. They may as well be the hills referred to in the title as after a loud reminder from the stage manager our host (and guitarist) Jackson Scott runs off to retrieve the bucket of white paint he throws onto the bare cardboard. From that same pile he pulls out the makings of a café table and two chairs. The tabletop is a cardboard disc that takes a few tries in becoming a weight-bearing table. And one of the chairs is not a chair – it is a beaten-up suitcase and a long piece of cardboard folded at the middle to impersonate the shape of a chair. Pretending doesn’t end with the furniture. The two beers are in cardboard coffee cups topped off by a hefty dollop of shaving cream. When the man and woman blow the beer’s “foam” off the top of the mug, the discarded shaving cream that lands on the floor gets recycled into the next drinks they order.

In the second scene, an interior of a train is created by a platform sitting on top of a “speed bump” that mimics the gentle seesaw of an old moving train. A stage assistant manages a huge scroll of muslin that steadily unfurls to reveal countryside and demarcations as if seen through the window of the train. At “night” it reveals stars in the sky. For Desire Under the Elms, that stage is replaced by two oversized high beds to represent the bedrooms of Ephraim and Eben. The height of the beds supports the fact that the two men appear in oversize suits that mask their appearing on stilts for the entire two scenes. That evidence is “given away” from the outset as we watch Abby helping Ephraim change from his sleepwear into a suit. The fact that the two men tower over Abby is not lost on the audience.

big trip la mama

Anya Zicer, Erich Rausch, Kwesiu Jones, Shelby Flannery and Tim Eliot in a scene from Krymov Lab NYC’s “Big Trip: Three Love Stories Near a Railroad” at the Ellen Stewart Theater at The LaMaMa Experimental Theatre Club (Photo credit: Bronwen Sharp)

The acting in Krymov’s company defies superlatives. The three couples are all played by stunning Tim Eliot and Shelby Flannery. The silences of couples at sad crossroads in their relationships is deafening. As is typical for the period in which the pieces were written, the men always have the upper hand. The man in the first couple urges the woman on to the decision of aborting the child. Their continued relationship hangs in the balance of her adhering to his wishes. With the second couple, the dumbing down by the husband of the content of the conversation between the older woman and the couple is not only due to the sound of the train, but to the young wife’s preoccupation with what is about to be her future alone. In the last scene, Ephraim’s vicious handling of Abby is as painful to watch as any beatdown. Abby’s insisting on her love for Eben falls on deaf ears. The towering Eben landing atop Abby should indicate a coitus, but it is more like the meeting of fingernails on a chalkboard. Eliot and Flannery give us beautifully nuanced portrayals of couples that find themselves together for all the wrong reasons.

The rest of the cast finds subtleties in what is otherwise a palette of great broad strokes of pain. The graceful Kwesiu Jones dances the role of what is meant to be the woman’s unborn child in Hills Like White Elephants. He clutches to her legs when he isn’t commanding the entire space with his exquisite balletic line. The end of the dance finds him rocking back and forth facing upstage, clearly no longer part of her painful decision. Jones returns as the shockingly vile Ephraim who flies into a fit of consuming rage that renders him unable to speak. Jackson Scott is droll as the host of the first piece until his duties are usurped by the tenacious Jeremy Radin in drag as a Spanish barmaid who doesn’t know Spanish. Think Alistair Cooke moderating America replaced by a fast-talking Robin Williams as Mrs. Doubtfire.

Annie Hägg is touching as the older American woman transporting the shedding canary. She reveals a frailty and desperation beneath the constant sharing of the same uneventful stories for anyone who would listen. Later she is a vibrant Edith-Piafesque chanteuse seeking help from women seated in the front row as she appears to be popping out of her bodice. Anya Zicer is charming comic relief as Shlomo, the production assistant nephew of the impatient narrator played by Jeremy Radin. Radin is superb in his ongoing battle with sound levels and filling dead spots with patter until cues happen or lines are said. Natalie Battistone fools us as a techie delivering a gigantic artificial swordfish(?) to the neighboring New York Theater Workshop by traipsing through La MaMa’s Ellen Stewart stage and Erich Rausch is pokerfaced as the musician they can’t afford to pay.

big trip la mama

Kwesiu Jones and Tim Eliot in a scene from Krymov Lab NYC’s “Big Trip: Three Love Stories Near a Railroad” at the Ellen Stewart Theater at The LaMaMa Experimental Theatre Club (Photo credit: Bronwen Sharp)

Emona Stoykova’s minimal set gives the actors so much room to play with. The ideas for the miniature trains, the constant scenery change through the train window, as well as the “train” interior for A Canary for One are ingenious. Luna Gomberg’s costumes are spot on. The elaborate garishness of the older American woman’s outfit in A Canary for One and the linens for the Man and Woman in Hills Like White Elephants are sublime. Her use of stilts and what appear to be oversized zootsuits for the male characters in Desire Under the Elms is quite clever. Krista Smith’s lighting is sensitive to all manners of colors and shadows on the stage. Baye & Asa and Rachel McMullin’s choreography provides an exquisitely surreal touch to Kwesiu Jones’ dramatic solo.

Krymov has whet our appetites for more of his theatrical vision. We eagerly await next year’s La MaMa residency of Krymov Lab NYC.

Big Trip: Part 2 – Three Love Stories Near a Railroad (through October 15, 2023)

Krymov Lab NYC

  • Ellen Stewart Theater at The LaMaMa Experimental Theatre Club

66 East 4th Street, in Manhattan

For tickets, visit http://www.lamama.org/shows/big-trip-2023

Running time: 100 minutes without intermission

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big trip la mama

  • Baye & Asa
  • Bronwen Sharp
  • Dmitry Krymov
  • Emona Stoykova
  • Erich Rausch
  • Ernest Hemingway
  • Eugene O'Neill
  • Jackson Scott
  • Jeremey Radin
  • Jeremy Radin
  • Kwesiu Jones
  • Luna Gomberg
  • Natalie Battistone
  • Paul Ghiselin
  • Rachel McMullin
  • Shelby Flannery

Tony Marinelli

About Tony Marinelli ( 46 Articles )

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Discover Hundreds of Upcoming Livestream Talks, Readings, & Performances From Around the World

A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together two pieces—Alexander Pushkin’s EUGENE ONEGIN in our own words and the World Premiere of THREE LOVE STORIES NEAR THE RAILROAD—for the full New York debut of Krymov’s singular creative vision.

La MaMa is proud to present KRYMOV LAB NYC’s inaugural mainstage repertory, BIG TRIP , directed by Dmitry Krymov at La MaMa’s legendary Ellen Stewart Theater (66 East 4th St., NYC). A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together adaptations of Pushkin, Hemingway and O’Neill in the full New York debut of Krymov’s unique creative vision. An internationally renowned luminary hailed by Elisabeth Vincentilli of the New York Times as “one of the world’s finest theater-makers,” Krymov and his new American company mark their arrival on the New York stage with this spectacular yet deeply personal exploration of life, love, loss, and theatre itself.  

BIG TRIP will play a three-week limited engagement with performances beginning Sunday , September 24 and continuing through Sunday , October 15. Tickets are $45 ($40 students/seniors) and are available at https://www.lamama.org/shows/big-trip-2023 . 

Part 1 – Pushkin ‘ EUGENE ONEGIN’ In Our Own Words is a simultaneously raucous and sobering journey through the past and future of a major cultural touchstone. In it, four oddball emigrées arrive in downtown NYC to tell us the intertwined stories of the great poet Alexander Pushkin and his magnum opus, “Eugene Onegin”. At once a deeply personal meditation on loss and a caravan of absurd delights, Onegin will delight and challenge audiences of all ages with Krymov’s singular theatrical style.

Part 2 – THREE LOVE STORIES NEAR THE RAILROAD marks the very first time that Krymov has adapted the work of American writers: Hemingway’s “Hills Like White Elephants” and “A Canary for One” collide with O’Neill’s “Desire Under the Elms” in an extravagant dance across centuries. American couples grapple with indomitable spirits outside a Spanish countryside train cantina and then in a railway car across the Continent, and then too-tall men are whipped around the stage by a whirlwind woman. Krymov’s first full plunge into the depths of American literature is boisterous, daring, unforgettable—and unmissable.

La MaMa’s Artistic Director Mia Yoo states , “BIG TRIP is Krymov’s first production with his new US company of actors/artists after leaving his homeland of Russia with the onset of war. What does it mean to start again in a new place after turmoil and decades of work? Finding ways to support Krymov’s transition to the US has been an honor for us at La MaMa. We are excited to be part of what this revolutionary artist will create as he builds a new generation of audiences and collaborators.”    

BIG TRIP plays the following schedule through Sunday , October 15 : 

Big Trip 1: Pushkin “Eugene Onegin” In Our Own Words

Sunday, September 24 at 2PM – preview Friday, September 29 at 7PM – Opening Saturday, September 30 at 2PM and 7PM Sunday, October 1 at 2PM Friday, October 6 at 7PM Saturday, October 7 at 2PM and 7PM Sunday, October 8 at 2PM Tuesday, October 10 at 7PM – GALA PERFORMANCE Wednesday, October 11 at 7PM

Big Trip 2: Three Love Stories Near the Railroad

Tuesday, September 26 at 7PM – Preview Wednesday, September 27 at 7PM – Opening Thursday, September 28 at 7PM Tuesday, October 3 at 7PM Wednesday, October 4 at 7PM Thursday, October 5 at 7PM Thursday, October 12 at 7PM Friday, October 13 at 7PM Saturday, October 14 at 2PM and 7PM Sunday, October 15 at 2PM

Tickets are $45 or $40/student and senior ($10 for the first 10 sold) and are now available online at https://www.lamama.org/shows/big-trip-2023 . Tickets may also be purchased in-person at the theater one-hour prior to performance.

Running Time: 100 minutes

Website: www.KrymovLabNYC.com

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  1. THE BIG TRIP (2019) Trailer

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  2. The Big Trip (2019)

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  3. The Big Trip (2019)

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  4. THE BIG TRIP Trailer (2020)

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COMMENTS

  1. Big Trip

    In two interconnected parts, Big Trip explores both American and Russian cultures, past and present, through unique theatrical adaptations of some of their most iconic writers: Hemingway, Pushkin, and O'Neill. Big Trip is a show that happens at La MaMa Sep 24, 2023-Oct 15, 2023.

  2. In 'Big Trip,' an Exiled Russian Director Asks: What Makes Us Human?

    By Elisabeth Vincentelli. Sept. 29, 2023. The Russian theatermaker Dmitry Krymov's "Big Trip," two shows in repertory through mid-October at La MaMa, in Manhattan, is in love with the very ...

  3. Big Trip

    Thanks to a residency granted him at La Mama, a New York theatrical institution now in its 62nd season, the eponymous Krymov Lab NYC is now making its debut. Over the course of two evenings, running in repertory and presented under the title Big Trip, his shows offer stirring examples of what makes him a unique theater artist. The trips on ...

  4. Big Trip: Three Love Stories Near the Railroad

    BIG TRIP. La MaMa Experimental Theatre Club. The Ellen Stewart Theatre. 66 East Fourth St. between Second Ave. & Bowery. September 24 - October 15, $45. 212-475-7710. www.lamama.org. www.krymovlabnyc.com. Moscow-born director, designer, and visual artist Dmitry Krymov makes a smashing debut with his new company, Krymov Lab NYC, in Big Trip ...

  5. La MaMa Announces 62nd Season And Expansion Of RADICAL ACCESS INITIATIVE

    THE 2023-24 LA MAMA SEASON Fall/Winter 2023-2024:--BIG TRIP by Krymov Lab NYC, directed by Dmitry Krymov.Explores American and Russian cultures past and present through unique theatrical ...

  6. Big Trip: Pushkin "Eugene Onegin" in our own words and Three Love

    His two current offerings at La Mama, Big Trip 1: Pushkin "Eugene Onegin" in our own words, and Big Trip 2: Three love stories near the railroad, play with classic literature and dive into pools filled with cultures, relationships, and languages. Big Trip is the umbrella title of the two presentations (on two separate nights).

  7. BIG TRIP

    Where: La MaMa Experimental Theatre Club (Ellen Stewart Theater, 66 East 4th St NYC NY) What: A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together two pieces—Alexander Pushkin's EUGENE ONEGIN in our own words and the World Premiere of THREE LOVE STORIES NEAR THE RAILROAD—for the full New York debut of Krymov's ...

  8. Big Trip

    Big Trip marks the full American debut of Dmitry Krymov's singular theatrical vision. Hailed by The New York Times as "one of the world's finest theat. ... La MaMa - Ellen Stewart Theatre. 66 East 4th Street New York City, NY 10003-8903 View on map Transportation ...

  9. VIEWPOINTS

    Tim Eliot, Annie Hägg, Jeremy Radin and Shelby Flannery in Dmitry Krymov's "Big Trip" at La MaMa (photo by Bronwen Sharp). BIG TRIP La MaMa Closed. Down at La MaMa — that venerable East Village hotbed for experimental theater — I caught the closing performance of Big Trip (HIGHLY RECOMMENDED) from visionary director Dmitry Krymov ...

  10. BIG TRIP

    La MaMa Experimental Theatre Club. 66 East 4th St NYC NY. More Info. DATES: 7:00pm Sep 24th, 2023 - Oct 15th, 2023 ... BIG TRIP joins together two pieces—Alexander Pushkin's EUGENE ONEGIN in our own words and the World Premiere of THREE LOVE STORIES NEAR THE RAILROAD—for the full New York debut of Krymov's singular creative vision ...

  11. In 'Big Trip,' an Exiled Russian Director Asks: What Makes ...

    In 'Big Trip,' an Exiled Russian Director Asks: What Makes Us Human? September 29, 2023. in News. The Russian theatermaker Dmitry Krymov's "Big Trip," two shows in repertory through mid-October at La MaMa, in Manhattan, is in love with the very essence of theater: how we tell stories, how we make art, how we live.

  12. Sep 24

    La MaMa is proud to present KRYMOV LAB NYC's inaugural mainstage repertory, BIG TRIP, directed by Dmitry Krymov at La MaMa's legendary Ellen Stewart Theater (66 East 4th St., NYC).

  13. BIG TRIP

    Event Series: BIG TRIP BIG TRIP. October 8, 2023 @ 2:00 PM - 3:30 PM $45 ... La MaMa presents KRYMOV LAB NYC ...

  14. Big Trip: Part 2

    Annie Hägg, Tim Eliot and Shelby Flannery in a scene from Krymov Lab NYC's "Big Trip: Three Love Stories Near a Railroad" at the Ellen Stewart Theater at The LaMaMa Experimental Theatre Club (Photo credit: Bronwen Sharp) The third pairing is Abby and her stepson Eben from Desire Under the Elms. She is married to Ephraim, Eben's father ...

  15. Big Trip

    La MaMa Experimental Theatre Club, 66 East 4th St, A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together two pieces ...

  16. Season 2023. Big Trip

    Big Trip 1: Pushkin "Eugene Onegin" in our own words. Every Russian grows up knowing Eugene Onegin, Aleksandr Pushkin's landmark novel-in-verse. The work and its poetic images form part of the national consciousness. For In Our Own Words' first staging in Moscow, Krymov created a children's play in which four non-Russians explain their ...

  17. Big Trip

    ThoughtGallery.org > Big Trip Big Trip A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together two pieces—Alexander Pushkin's EUGENE ONEGIN in our own words and the World Premiere of THREE LOVE STORIES NEAR THE RAILROAD—for the full New York debut of Krymov's singular ...

  18. BIG TRIP

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  20. BIG TRIP

    A joyful and poignant expedition to the crossroads of cultures, languages, and theatrical traditions, BIG TRIP joins together two pieces—Alexander Pushkin's EUGENE ONEGIN in our own words and the World Premiere of THREE LOVE STORIES NEAR THE RAILROAD—for the full New York debut of Krymov's singular creative vision.

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