“Perfect” – The New Yorker

“Some of the most crafted, interesting stuff in the New York theater” – Robert Lopez, Tony Award-winning composer of Avenue Q and Book of Mormon

“Theatre at its best” – TalkingBroadway.com

“Stoppard squeal, and set your pen to squirm! / Bromley would your match be, term for term.” – The Village Voice

___

Inverse Theater presents:

Be Story Free

a new play by Kirk Wood Bromley (“The Beloved Bard of Downtown Theater” – New York Magazine)

Featuring:

Matt Oberg (Onion SportsDome, Ugly Americans)
Steve Burns (Blue’s Clues, NetherBeast Inc.)
Luke Murphy (Sleep No More; Pass the Blutwurst, Bitte)
Troy Ogilvie (Gallim Dance, Sidra Bell Dance Co.)
Jordan Coughtry (Alec Duffy’s Murder in the Cathedal)
Chris Thorn (The Guthrie, New Victory Theater)
Mick O’Brien (Stephen Schwartz’s Seance on a Wet Afternoon)
Patrick Toon (The Depot Theater)
Carson Reiners (Cleo Mack)
Denice Kondik (Cycatrix Adaptitude)
Alexis Sottile (Ontological Hysteric Incubator, The Brick)
Catherine McNelis (Center Stage)

choreography and videos by Leah Schrager (On the Boards with Linas Phillips, Center on Contemporary Art)

music and videos by John Gideon (Ohio Theater, Village Gate)

Text, dance, video, and music combine into a mock “Story Addiction Destruction” Seminar involving various takes on narrative infection, device compulsion, and the crash and recover loop

EXTENDED!

May 26 – 28, 2011 at 7 pm

at

The Home Of

to make a reservation and find out the venue’s “secret location”

email contact@thehomeof.org

Seating is extremely limited and only those with reservations will be allowed in.

Raves about Inverse Theater and Kirk Wood Bromley:

Robert Lopez, Tony-Award winning composer of Avenue Q and Book of Mormon: “Kirk’s writing is some of the most crafted, interesting stuff in the New York theater. And it’s almost as much fun to read his plays as it is to see them — he’s one of the few playwrights whose work can be considered literature.”

Greg Kotis, Tony-Award winning composer of Urinetown: “Kirk Bromley is one of the most intrepid, visionary playwrights working in New York today. His work should be produced.”

The New York Times: “Very impressive! A nonstop parade of puns, tweaked aphorisms, and linguistic gymnastics…a barrage of jokes that hit more than they miss.” and…”It sparkles and shines. It rants and raves. Its language is sublime.” and “Full of lyricism.”

The New Yorker: “Inventive drama…perfect!”

The Los Angeles Times: “Near perfect!” and “Bromley writes with witty bite and bawdy flair …a wonderful blend of wordsmithing and wackiness.”

LA Weekly: “Shakespeare on mushrooms!” and “So many quippy, quotable lines, they fell off my notepad.” and “a bona-fide modern classic.”

Backstage: “Genius…as stimulating visually as it is intellectually…the banter, reflection, and fantasy in his text possess all the vitality and zaniness of 120 actors” and “Startlingly clever and wise; in comparison, all prose plays seem facile.”

New York Magazine: “Bromley is the beloved Bard of downtown theater.”

The Village Voice: “Poignant and thrilling…egregiously absurd…the inspired blocking and choreography keep things lively” and “The Verse Play Champion” and “The Vanguard Versifier!”

Time Out NY: “Remarkably intelligent… complex…witty…could be on a comparative Shakespeare class syllabus” and “An overflowing smorgasbord of verbiage and imagination” and “The Best Musical in the Fringe!” and “an uncommonly talented cast” and “a talented up-and-comer.”

Show Business: “Bromley is beyond reproach.”

BBC: “The best play on London’s stages.”

TalkingBroadway.com: “Theatre at its best” and “Fiercely political…shattering and unsettling…a celebration of excess…a post-apocalyptic anti-drug theme park filled with animatronics.”

What’s On London: “A quite extraordinarily brilliant piece of theater.”

San Francisco Bay Guardian: “A brilliant barrage of wordplay and low comedy…exceptional.”

NYTheatre.com:  “Extraordinary… brilliant…breathtaking…exhilarating” and “Intense originality and passionate intelligence” and “The most important new American play of the season” and   “For originality, clarity and depth of vision, humor, and utter humanity, who can match this big-souled poet?” and    “If you prize the kind of theatre where language flexes its muscles to challenge your intellect, where pure poetry produces gasp-inducing flights of fancy, where ideas leap ingeniously all over the stage making connections you never quite saw before—then this is the show you will want to see this month.”

American Theater Magazine: “This verse play speaks directly to its audience’s concerns and in its dialect.”

The New York Sun: “Great talent! Topnotch! Real flashes of brilliance!”

offoffonline: “Immensely imaginative.”