St Ann's WarehouseSt. Ann's Warehouse showcases innovative theater and concert presentations that meet at the intersection of theater and rock and roll.
St Ann's Warehouse45 Water St Brooklyn, NY 11201
St. Ann's Warehouse showcases innovative theater and concert presentations that meet at the intersection of theater and rock and roll.
For 34 years, St. Ann’s Warehouse has commissioned, produced, and presented a unique and eclectic body of innovative theater and concert presentations that meet at the intersection of theater and rock and roll. Since 2000, the organization has helped vitalize the Brooklyn Waterfront in DUMBO, where St. Ann’s Warehouse has become one of New York City’s most important and compelling live performance destinations. After twelve years at 38 Water Street, St. Ann’s activated a new warehouse at 29 Jay Street, turning it into an interim home while the organization has adapted the historic Tobacco Warehouse (45 Water Street) in Brooklyn Bridge Park into a waterfront cultural center. Construction is nearly finished.
Through its signature multi-artist concerts and groundbreaking music and theater collaborations, St. Ann’s continues to celebrate the panoramic traditions of American and world cultures, with forays into a variety of contemporary forms, including new commissions and multi-disciplinary theatrical presentations.
Among the many acclaimed St. Ann’s productions include Lou Reed and John Cale’s Songs for Drella; Marianne Faithfull’s Blazing Away and The Seven Deadly Sins; Artistic Director Susan Feldman’s Band in Berlin; Carter Burwell, Charlie Kaufman, and the Coen Brothers’ Theater of the New Ear; The Royal Court Theatre’s4:48 Psychosis; The Wooster Group’s Hamlet, The Emperor Jones, House/Lights, To You, The Birdie! (Phèdre); The Globe Theatre’s Measure for Measure; Gate Theatre London’s Woyzeck; Antony’s Turning; Mabou Mines’ Dollhouse; Lou Reed’s Berlin; Cynthia Hopkins’ Accidental Trilogy; Les Freres Corbusier’s Hell House; Enda Walsh’s The Walworth Farce, The New Electric Ballroom, and Penelope (Druid Theatre) and Misterman with Cillian Murphy; TR Warszawa’s Macbeth, Risk Everything, and FESTEN (The Celebration); The National Theatre of Scotland’s Black Watch and Beautiful Burnout; Kneehigh Theatre’s Brief Encounter and The Wild Bride; Young@Heart/No Theater’s End of the Road; the American debut of Daniel Kitson: The Interminable Suicide of Gregory Church and It’s Always Right Now Until It’s Later; Yael Farber’s Mies Julie (Baxter Theatre); Dmitry Krymov’s Opus No. 7; and Donmar Warehouse’s all-female Julius Caesar; Kate Tempest’s Brand New Ancients; Tricycle Theatre’s Red Velvet and, most recently, the National Theatre of Scotland’s Let the Right One In. St. Ann’s has championed such artists as The Wooster Group, Mabou Mines, Jeff Buckley, Cynthia Hopkins, Emma Rice and Daniel Kitson.
In 2004, founding Artistic Director Susan Feldman and St. Ann’s Warehouse were awarded the Ross Wetzsteon Award for the development of new work and for “inviting artists to treat their cavernous DUMBO space as both an inspiring laboratory and a sleek venue where its superinformed audience charges the atmosphere with hip vitality.”
I saw "946: The Amazing Story of Adolphus Tips" last night. I saw what must have consumed an enormous amount of rehearsal, with good music, dance, and performers who seemed able to do just about anything. It dealt with big themes: war, growing up, falling in love, tragedy, and things to be happy about. As an animal lover, I really cared for Tips the cat. I so wish, though, that it had been very much better. A wonderful opportunity was wasted, considering what they had to work with. The vulgar sight gags, off-color jokes, the elaborate silliness that seemed to have no purpose but to make somebody look stupid and get people to laugh--there seemed to be vast quantities of all that. Lily makes fun of the evacuee she later falls in love with; in a sense, she bullies him. If you have a great story to tell, stick to the point and tell it straight, simply, honestly. No cheap slapstick. No put-ons. We don't need to see how many faces you can make for no reason except to camp things up. I see this show has gotten raves, and a word that has been used is "truthful," or something like it. Why? There were some very good moments, but they were lessened by a desire to avoid having a really big, unalloyed, honest feeling. The truth, the whole truth and nothing but the truth--that we didn't get. I'm sure I could say more, but this is it for now. What a disappointment from such a mountain of ability, resources, potential.