{"id":195,"date":"2020-04-18T08:48:24","date_gmt":"2020-04-18T08:48:24","guid":{"rendered":"https:\/\/www.critical-stages.org\/21\/?p=195"},"modified":"2022-02-05T13:15:25","modified_gmt":"2022-02-05T13:15:25","slug":"tomorrows-theatre-maybe","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/21\/tomorrows-theatre-maybe\/","title":{"rendered":"Tomorrow\u2019s Theatre! Maybe"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Steve Capra<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<p class=\"has-background wp-block-paragraph\" style=\"background-color:#c69a9f\"><strong><em><a rel=\"noreferrer noopener\" href=\"http:\/\/www.untitledtheater.com\/previous-productions\/performance-for-one.html\" target=\"_blank\">A Performance for One<\/a><\/em>, produced by Untitled Theatre Company #61 at Chashama, New York. Conceived by Edward Einhorn and Yvonne Roen. Written and directed by Edward Einhorn. Opened 6 September 2019.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Theatre in the Dark: Carpe Diem<\/em>. Produced by <a rel=\"noreferrer noopener\" href=\"http:\/\/www.untitledtheater.com\/previous-productions\/performance-for-one.html\" target=\"_blank\">This is not a Theatre Company<\/a>. Conceived and directed by Erin B. Mee at TheatreLab, New York. Opened 8 September 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Catastrophe Club<\/em> by David Burnam. Produced by Sea Dog Theatre, Janelle Garcia Domig and Christopher Domig. Directed by Shain Fauntleroy. Secret location. Opened 18 October 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">New York\u2019s most important contribution to the theatre lies in its <em>avant-garde<\/em>. It nurtures daring, creative productions in small venues, and it cultivates new forms.These productions aren\u2019t always successful\u2014but we always have something to learn from them. Here are three interesting productions I saw in 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>A Performance for One<\/em> is a ten-minute performance\u2014a sort of performance\u2014from Untitled Theatre Company #61, conceived by Edward Einhorn and Yvonne Roen, and written and directed by Mr. Einhorn. It\u2019s designed for an audience of, well, one. He sits in a small space with the performer\u2014in my case Ms. Roen\u2014who speaks to him for nearly ten minutes about her memory of her father\u2019s hands. It\u2019s not actually her memory, she points out, but the memory of the writer, Edward Einhorn. But \u201cthe writer,\u201d she tells her audience, \u201chas abandoned us.\u201d<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"320\" height=\"237\" src=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Photo-1-PER-Three-avant-Performance-for.jpeg\" alt=\"\" class=\"wp-image-196\" srcset=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Photo-1-PER-Three-avant-Performance-for.jpeg 320w, https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Photo-1-PER-Three-avant-Performance-for-300x222.jpeg 300w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><figcaption>Yvonne Roen. Photo: Untitled Theatre Company #61<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">There\u2019s a lovely passage about this memory becoming <em>our<\/em> memory. She speaks of the role of the audience, the audience as performer, experiencing the actress\u2019 experience of the performance, as she experiences his.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The audience member, who is sitting nearly knee-to-knee across from the actress, is invited to look at her eyes, or her face, or her hands. He is invited to speak. Ms. Roen has a wonderful, living connection with her audience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I asked Edward Einhorn how he came to write the piece. His reply:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>I\u2019ve had some experiences just being the only person in the audience and it made me really think about what the responsibility of an audience member is. The whole idea of the audience member being the other actor in the space really came home to me with that. I wanted to have a piece that examined that.<\/p><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><em>A Performance for One<\/em> is intriguing for the theatre practitioner, less so for the civilian, who must be seduced into accepting a daring conceit like this. It\u2019s too academic. What\u2019s more, I spoke once during the actress\u2019s monologue, but my comment was ignored. It\u2019s surprising that Ms. Roen passed up the opportunity to create a bespoke, improvised event <em>with<\/em> me. Ten minutes isn\u2019t enough for us to identify our response to the event, but the audience is invited to a second performance.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-1\">Video 1<\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Theatre In The Dark: Carpe Diem Trailer\" src=\"https:\/\/player.vimeo.com\/video\/367778596?dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen><\/iframe>\n<\/div><figcaption>The trailer of <em>Theatre in The Dark: Carpe Diem<\/em><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Theatre in the Dark: Carpe Diem<\/em> is conceived and directed by Erin B. Mee and produced by her company, This is not a Theatre Company, at the TheatreLab space, off-off-Broadway.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For this show, audience members are blindfolded and then led into the theatre, which, we learn later, is a large room with tables and chairs by them, as if for dinner. As we sit, we\u2019re led through experience a series of olfactory, gustatory, aural and sometimes tactile experiences, in ten \u201cscenes.\u201d In each scene, something to eat or to drink is placed in our hands, and a scent is released in the room.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In addition, we hear either recorded voice or music in each scene\u2014<em>The Love Song of J. Alfred Prufrock<\/em> by T.S. Eliot; <em>To the Virgins, to Make Much of Time<\/em> by Robert Herrick (\u201cGather ye rosebuds while ye may\u201d); whimsical, almost nonsensical dialogue; a whisper in our ear. And sometimes we feel the light sensation of something touching us, like a feather.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"246\" height=\"241\" src=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Photo-2-PER-Threea-avant-Carpe.jpeg\" alt=\"\" class=\"wp-image-197\"\/><figcaption>A scene from <em>Carpe Diem<\/em>. Photo: This is not a Theatre Company<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Ms. Mee relates the production to the Indian concept of <em>rasa<\/em>\u2014translated as \u201cflavor,\u201d \u201cessence\u201d or \u201cextract,\u201d and applied to the performing arts. When the show was presented in India, Ms. Mee told the Indian Express that it \u201cliteralize the notion of rasa.\u201d She explained that just as different combinations of food elicit different tastes, so do they produce different combinations of emotions. In this show, she expands on this idea to include sound and touch.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This concept is refreshing and interesting. It could be exciting if it were more developed. It\u2019s fascinating to the theatre professional, but Ms. Mee\u2019s concept is so academic that it leaves the general audience behind. For one thing, the swift succession of scenes lacks gravity. Each scene\u2014each taste\u2014needs to be framed in time; we need literally to cleanse our palate, like at a wine tasting, and the scenes need to progress in a way that we can comprehend.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Is this theatre? It certainly stretches the definition of theatre to mean something it hasn\u2019t meant before. But if not us, then who?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The show\u2019s best moment, though, creates a lovely metaphysical metaphor: the lights are turned on while we\u2019re still blindfolded so that we know that there\u2019s light but we can\u2019t see anything.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"320\" height=\"180\" src=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Photo-3-PER-Three-avant-Catastrophe.jpeg\" alt=\"\" class=\"wp-image-198\" srcset=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Photo-3-PER-Three-avant-Catastrophe.jpeg 320w, https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Photo-3-PER-Three-avant-Catastrophe-300x169.jpeg 300w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><figcaption>Cassandra Nwokah, Dan Kublick, Stewart Walter and Sue Kim as the four scientists. Photo: Jeremy Varne<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The future of the theatre lies largely in immersive theatre. Sea Dog Theatre has produced a very interesting immersive production called <em>Catastrophe Club<\/em>. It\u2019s written by David Burnam and directed by Shaun Fauntleroy\u2014in both cases quite well\u2014and produced at a location undisclosed until the day before the individual audience member sees it. You get an email telling you where to report. Very intriguing . . .<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The small audience nearly surrounds the small main playing area. The lighting is suitably harsh. The given year is 2520. We\u2019re welcomed by our hostess, Ruth: \u201cHello, criminal,\u201d she says. Peaceful assembly, it seems, is outlawed in 2520: \u201cThe last time there was an infraction for public congregation was 25 years ago. It was a wedding.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">That\u2019s the outer frame of the play: we\u2019ve assembled here to watch the inner frame: four simulated people from the year 2019. Simulated, but based on \u201creal\u201d people, climate scientists, who videoed an evening they spent together, the evening we\u2019re watching, in a space very much like the one we\u2019re in. They chat about nothing specific, sniff cocaine, do some stand-up comedy for our entertainment and discuss the climate crisis while they wait for a mysterious phone call. We\u2019re <em>there with them<\/em>. They\u2019re educated scientists, but their discussion borders on cryptic, paranoid conspiracy theory: \u201cSome night is going to be the last night of civilization.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ruth, it seems, has discovered their video 500 years later and recreated the evening by programming these simulations who are acting it out for us. \u201cThis is my life\u2019s work,\u201d she tells us, \u201cto bring these old people to life. . . . I stayed as true as I could to what they left behind.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The characteristics of this particular 2520 utopia are revealed throughout the show in delayed exposition, and part of the fun is piecing together these hints. Ruth has several revealing lines: \u201cTrust is an outdated technology because we have certainty.\u201d \u201cDisease is barely heard of. . . . We scrub the memories of the dead.\u201d \u201cI struggle to make sense of the pain these people lived on.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Only once does she express any real anxiety about holding this verboten gathering: \u201cThey\u2019ll come to shut me down,\u201d she says cryptically. And she has two mysterious lines regarding the present-day frame we\u2019re watching: \u201cI want to say to them <em>Run!<\/em>\u201d and \u201cThe world is ending.\u201d Maybe they aren\u2019t so paranoid after all. Or we.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the play\u2019s best moments, the playwright plays with the tension between the two frames very nicely. Ruth orders \u201cHalt\u201d and \u201cResume\u201d to stop and to animate her simulations, but sometimes they malfunction.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In its worst moment, two of our friends slide into the bathroom to have sex. First of all, that\u2019s disgusting. Moreover, the actors stand in a corner of the playing area when they\u2019re supposed to be in the bathroom, and the show breaks the convention\u2014that this is <em>the real space<\/em>\u2014that it\u2019s so carefully set up.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, the specifics of the conceit\u2014our relationship to the \u201cold people\u201d\u2014are sometimes murky. The company needs to clarify this style, this <em>fictional actualism<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The other problem is with the script. The inner frame\u2014the stage life of the four climate scientists\u2014has no drama, no story. There are events, but they have no <em>arc<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This production is nonetheless important. Its conceit is intriguing and its dialogue is skillful\u2014one character even quotes from The Book of Ruth. The ending\u2014when Ruth and the four scientists co-exist in time\u2014is very nice indeed, and exploits the script\u2019s clever design.<a name=\"end\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<figure class=\"wp-block-image size-thumbnail is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/Kapra-150x150.jpg\" alt=\"\" class=\"wp-image-199\" width=\"150\" height=\"150\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"end\" href=\"#back\">*<\/a><strong>Steve Capra<\/strong> has worked extensively as actor, director and producer, most notably for Judith Malina and The Living Theatre. His plays have appeared in New York and the U.K. His book, <em>Theatre Voices<\/em>, contains interviews with leaders in the American and British theatre. His reviews are found at <a rel=\"noreferrer noopener\" href=\"http:\/\/www.newyorkcritic.org\/\" target=\"_blank\">www.newyorkcritic.org<\/a>.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Copyright <strong>\u00a9<\/strong> 2020 Steve Capra<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img decoding=\"async\" src=\"https:\/\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":249,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[8],"tags":[],"class_list":["post-195","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/featured.jpg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":515,"url":"https:\/\/www.critical-stages.org\/21\/latvia-all-the-worlds-a-screen\/","url_meta":{"origin":195,"position":0},"title":"LATVIA: All the World\u2019s a Screen","author":"Steve Capra","date":"May 11, 2020","format":false,"excerpt":"Lauma Mell\u0113na-Bartkevi\u010da* The year 2020 is probably the strangest year in the world of the performing arts in our (young) century. The Covid-19 pandemic and the related social distancing requirements closed all theatres and forced everyone to move to digital platforms. Unlike many other countries in Europe, Latvia did not\u2026","rel":"","context":"In &quot;Covid&quot;","block_context":{"text":"Covid","link":"https:\/\/www.critical-stages.org\/21\/category\/covid\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/flag-lat-400.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":624,"url":"https:\/\/www.critical-stages.org\/21\/performing-outdoors-about-aesthetics-and-ideology-an-interview-with-joan-font\/","url_meta":{"origin":195,"position":1},"title":"Performing Outdoors: About Aesthetics and Ideology:                                An Interview with Joan Font","author":"Steve Capra","date":"May 24, 2020","format":false,"excerpt":"by Merc\u00e8 Saumell* Joan Font was born in 1949, in a town near Barcelona. He trained at the prestigious Jack Lecoq school in Paris. In 1971, together with several Catalan colleagues, some of whom were also Lecoq students, he founded the Comediants theatre group. Comediants is one of the finest\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/www.critical-stages.org\/21\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/Font.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":398,"url":"https:\/\/www.critical-stages.org\/21\/introductory-words\/","url_meta":{"origin":195,"position":2},"title":"Introductory Words","author":"Steve Capra","date":"May 10, 2020","format":false,"excerpt":"Yana Meerzon* Dear reader, As we prepare the June 2020 issue (#21) to be released, we find ourselves in a new world of social distancing, self-isolation and developing anxieties for our health and economic wellbeing. This is the world that we could not imagine or anticipate even a few months\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/21\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/Meerzon.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":222,"url":"https:\/\/www.critical-stages.org\/21\/time-chance-and-space-stan-lais-newest-work-ago\/","url_meta":{"origin":195,"position":3},"title":"Time, Chance and Space: Stan Lai\u2019s Newest Work, Ago","author":"Steve Capra","date":"April 18, 2020","format":false,"excerpt":"Yu Kuo-Hua* Ago, written and directed by Stan Lai. Performed in Mandarin Chinese. Set and Costume Design: Sandra Woodall. Lighting: Michael Lee-zenChien. Projections: Ethan Wang. Company: Performance Workshop Shanghai. Venue: Theatre Above, Shanghai, China. Premiere: December 6, 2019. With a playing time of over five hours, Stan Lai\u2019s latest work,\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/21\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/image10.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/image10.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/image10.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/image10.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":742,"url":"https:\/\/www.critical-stages.org\/21\/a-town-remembered-and-recreated\/","url_meta":{"origin":195,"position":4},"title":"A Town Remembered and Recreated","author":"Steve Capra","date":"April 18, 2020","format":false,"excerpt":"Maria Z\u0103rnescu* Our Town (A mi kis v\u00e1rosunk). Written by Thornton Wilder. Translated by Marcell Benedek. Adapted by Vladimir Anton and R\u00e9ka D\u00e1lnoky. Directed by Vladimir Anton. Set design: Eranio Petru\u015fca. Costumes: Bogl\u00e1rka B\u00edr\u00f3. Music: Attila P\u00e1l. Lighting design: Istv\u00e1n To\u00e1s\u00f3. Sound Design:\u00a0 Hunor-Lehel Boca. Produced by the Tomcsa S\u00e1ndor\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/21\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/PER-Ourtown8.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/PER-Ourtown8.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/PER-Ourtown8.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/PER-Ourtown8.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":452,"url":"https:\/\/www.critical-stages.org\/21\/united-states-live-from-the-united-states-its-social-distancing\/","url_meta":{"origin":195,"position":5},"title":"UNITED STATES: Live from the United States, It\u2019s Social Distancing","author":"Steve Capra","date":"May 1, 2020","format":false,"excerpt":"Chris Jones* On Wednesday March 11, Broadway theatres were humming with the excitement of the spring season. Plays such as Tracy Letts\u2019 The Minutes were in previews; their openings just days away. Buzz was building over Marianne Elliott's\u00a0revival of Company. Critics were anticipating a thrilling performance by Laurie Metcalf in\u2026","rel":"","context":"In &quot;Covid&quot;","block_context":{"text":"Covid","link":"https:\/\/www.critical-stages.org\/21\/category\/covid\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/flag-usa-400.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/posts\/195","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/comments?post=195"}],"version-history":[{"count":5,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/posts\/195\/revisions"}],"predecessor-version":[{"id":1163,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/posts\/195\/revisions\/1163"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/media\/249"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/media?parent=195"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/categories?post=195"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/tags?post=195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}