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The co-op bookstore for avid readers
Gary: A Sequel to Titus Andronicus
"Fabulous and bedraggled: a defiant and beautiful mess... Welcome to the world of Gary: A Sequel to Titus Andronicus, where carnage and camp coexist." --Jesse Green, New York Times
In Gary: A Sequel to Titus Andronicus, Taylor Mac's singular worldview intersects with William Shakespeare's first tragedy, Titus Andronicus. Set during the fall of the Roman Empire, Mac's extraordinary play picks up where Shakespeare's blood-soaked tale left off: the coup has ended, the country has been stolen by madmen, and there are casualties everywhere. Two lowly servants, Gary and Janice, are charged with cleaning up the bodies. It's the year 400--but it feels like the end of the world.
Book Details
- Publisher: Theatre Communications Group
- Publish Date: Feb 8th, 2022
- Pages: 96
- Language: English
- Edition: undefined - undefined
- Dimensions: 8.35in - 5.20in - 0.47in - 0.35lb
- EAN: 9781559369824
- Categories: • LGBTQ+• Shakespeare• American - General
About the Author
Taylor Mac (who uses "judy"--lowercase [sic]--as
a gender pronoun) is the author of Joy and Pandemic; The Hang (composed
by Matt Ray); Gary: A Sequel to Titus Andronicus; A 24-Decade History
of Popular Music; Prosperous Fools; The Fre; Hir; The
Walk Across America for Mother Earth; The Lily's Revenge; The
Young Ladies Of; Red Tide Blooming; The Be(A)st of Taylor Mac;
and the revues Comparison Is Violence; Holiday Sauce; and The
Last Two People on Earth: An Apocalyptic Vaudeville (created with Mandy
Patinkin, Susan Stroman, and Paul Ford). Mac is the first American to
receive the International Ibsen Award; is a MacArthur Fellow, a Pulitzer Prize
finalist, a Tony nominee for Best Play; and is the recipient of the Edward M.
Kennedy Prize for Drama Inspired by American History (with Matt Ray), the Doris
Duke Artist Award, a Guggenheim, the Herb Alpert Award, a Drama League Award,
the Helen Merrill Award for Playwriting, the Edwin Booth Award, two Helpmann
Awards, a New York Drama Critics' Circle Award, two Obies, two Bessies, and an
Ethyl Eichelberger.
a gender pronoun) is the author of Joy and Pandemic; The Hang (composed
by Matt Ray); Gary: A Sequel to Titus Andronicus; A 24-Decade History
of Popular Music; Prosperous Fools; The Fre; Hir; The
Walk Across America for Mother Earth; The Lily's Revenge; The
Young Ladies Of; Red Tide Blooming; The Be(A)st of Taylor Mac;
and the revues Comparison Is Violence; Holiday Sauce; and The
Last Two People on Earth: An Apocalyptic Vaudeville (created with Mandy
Patinkin, Susan Stroman, and Paul Ford). Mac is the first American to
receive the International Ibsen Award; is a MacArthur Fellow, a Pulitzer Prize
finalist, a Tony nominee for Best Play; and is the recipient of the Edward M.
Kennedy Prize for Drama Inspired by American History (with Matt Ray), the Doris
Duke Artist Award, a Guggenheim, the Herb Alpert Award, a Drama League Award,
the Helen Merrill Award for Playwriting, the Edwin Booth Award, two Helpmann
Awards, a New York Drama Critics' Circle Award, two Obies, two Bessies, and an
Ethyl Eichelberger.
Praise for this book
"Expect plenty of fart jokes and penis wagging and doubles entendre
interlaced with the sweet humanity and higher-toned political satire... There's
no shortage of art and craft in this offbeat show."-- "Variety"
interlaced with the sweet humanity and higher-toned political satire... There's
no shortage of art and craft in this offbeat show."-- "Variety"
"Much of Gary is an outrageous mix of the grotesque and the
absurd, designed to make audiences gape... If staging Gary on Broadway is
in some sense a folly, it's the kind we could use a lot more of."-- "Time Out New York"
absurd, designed to make audiences gape... If staging Gary on Broadway is
in some sense a folly, it's the kind we could use a lot more of."-- "Time Out New York"
"Taylor Mac has the smarts to take on the big themes and find credible
and incredible arguments in each... The language of Gary is marked by the
play's high style, by its pathos and its rhythm... Mac's ability to elevate
doggerel to verse is no small thing: it is the work of a real writer expressing
depths in a popular form." -- "New Yorker"
and incredible arguments in each... The language of Gary is marked by the
play's high style, by its pathos and its rhythm... Mac's ability to elevate
doggerel to verse is no small thing: it is the work of a real writer expressing
depths in a popular form." -- "New Yorker"
"No one knows how to create a beautiful mess quite like creative genius
Taylor Mac, who doesn't disappoint with this weird, sexy, uncomfortable romp
through Titus's bloody banquet room... This sort of wacky, wonderful production
isn't typically presented to mainstream audiences, but I'm so thrilled the
world has flipped enough to let it be so. It's the reason live theater persists:
to imagine and confront the realities of life, and death, that we typically
avoid at all costs." -- "Rolling Stone"
Taylor Mac, who doesn't disappoint with this weird, sexy, uncomfortable romp
through Titus's bloody banquet room... This sort of wacky, wonderful production
isn't typically presented to mainstream audiences, but I'm so thrilled the
world has flipped enough to let it be so. It's the reason live theater persists:
to imagine and confront the realities of life, and death, that we typically
avoid at all costs." -- "Rolling Stone"
"A vigorous
mash-up of high- and lowbrow... Gary's got heart and brains and guts
(many, many guts)." -- "Vulture"
mash-up of high- and lowbrow... Gary's got heart and brains and guts
(many, many guts)." -- "Vulture"
"Gary is a farce, a piece of messy circus... There is nothing like
it on Broadway, and that is to be welcomed. It is an argument for art, and a
passionate call for resistance." -- "Daily Beast"
it on Broadway, and that is to be welcomed. It is an argument for art, and a
passionate call for resistance." -- "Daily Beast"
"A philosophical vaudeville depicting the savagery of elites, the pettiness of proles, the foolishness of dreamers... Soon, the battle lines are drawn between those, of whatever class, who would try to save the world but fail -- the comedians, that is -- and those who won't try at all: the tragedians."-- "New York Times"
"Delectably raunchy and macabre."-- "Vanity Fair"
"Mac's comedy, among other things, is a bruised valentine to the awesome yet limited power of the theater."-- "The Wrap"
"The iconoclastic vision, the captivating balance of highbrow and low, the undercurrent of compassion for a rarely deserving species - all stay true and really rather glorious."-- "Deadline"
"A raucous comedy whose subject is tragedy...which Mac engages with gloriously raunchy humor and blazing intuition, and an aching tenderness that sneaks up on you and wraps itself around your heart."-- "New York Stage Review"