![]() It’s an unsettling reminder of how precious life is and how urgently important it is to appreciate every moment of it, but it’s also so chockfull of clever absurdities and quirky inventiveness that it can also be bearable-if one hasn’t lost a sense of humor about the subject by age (almost) 76.Īntaeus is known for presenting more traditional classics, but in the hands of this exceptional veteran ensemble cast under the leadership of director Jennifer Chang, Jacob-Jenkins’ fascinating but challenging Everybody could not possibly be a tighter fit. There’s now no doubt whatsoever in my mind that Jacobs-Jenkins is a major artist to watch, someone who, as the New York Times referred to him, has become “one of our country’s most original and illuminating writers.”īased on the classic medieval morality play Everyman, this is an imaginative new take on the famous allegorical quest as a simple man searches for the explanation of life and its transience, or the “Buddhist-ness at the heart of the story.”Įverybody lobbies for a willing companion to join him on his journey to meet his demise at the wave of a riding crop from Death (played by formidable LA theatrical icon Anne Gee Byrd), something that could not be more timely for me personally at the moment. ![]() ![]() ![]() After seeing Branden Jacobs-Jenkins’ wildly inventive and refreshingly entertaining morality tale The Octoroon debut at the Fountain last season, the announcement that the prolific Antaeus Theatre Company would be presenting the LA premiere of the playwright’s 2018 Pulitzer finalist Everybody gave me yet another reason to not so patiently await Fall. ![]()
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