You needn't be a budding Martha Stewart to get your creative juices flowing at this DIY haven. Any theatre maker who willingly and boldly engages in the form of audience participation is out of their mind. The performance itself begins with the echo of a gong struck by a woman who is seated in the corner of the space for the entirety of the show. Readymade Cabaret is inspired by Duchamp’s aesthetic of chance, as well as Dada concepts of embracing the random, chaotic essence of life. The five-story second Manhattan outpost (the first is on the Upper West Side) offers foolproof crafts that any age or skill level can master.
This is a consistent theme throughout the show, both discussed by characters in the narrative portions, and mirrored in the infrastructure that attempts to put these theories into action. She was born in Hong Kong, raised between Tokyo and Seattle, and now lives in Brooklyn, NY.
Would be helpful when you post a review to list the address, showtimes, ticket purchase, and dates of the run. The actress is doing an impressive song sequence with Mahesh in a song of the film currently being shot in Hyderabad.


The show, which runs about an hour, takes place in a modest fluorescent-lit room in the basement of Judson Church, occupied by handmade artifacts lining the walls as if they were museum pieces or perhaps a popup gallery.
I myself have been thrust into a great state of chaos recently, hitting the age of dirty thirty and questioning every decision I’ve ever made in my life. I left the performance that evening contemplating a number of things – perhaps most immediately, how I’ve come to follow a ‘path’ which I was pretty sure promised the blind walker all the treasures of life as long as you kept at it, and the dreaded realization that this path actually leads to an existential nowhere. Those who don’t want to get their hands dirty can have a pro apply glitter tattoos ($5) and hair feathers ($6) at a station on the first floor, or hit the retail area to pick up quirky gifts such as Seedling Design Your Own Superhero Cape kits ($40).
I spy an old school political form, a Boal weighed down by the passage of time and outdone by its contemporaries who are possessed with something much more alienating, fast, electric. Interspersed with these objects are the performers themselves, dressed in black attire, frozen for a time, then adjusting ever so slightly to another pose. Just a mirage in my mind… The repercussions of falling off said path have left me tremendously lost, and as the play suggests, those who can believe in fate have it lucky. Shamna Kasim has acted in noted movies like Seema Tapakai and Avunu and she will be trying to make a big impact in Telugu again with this movie. In This Is Not A Theatre Company’s Readymade Cabaret, they defied my baseless beliefs and dared to walk this very terrain, and I was pleasantly surprised to experience a kind of participation that was smart, functional and at times deeply poetic.


The scenes vary in length and content, but most are short, poignant, charming, and manage to interact imaginatively with each museum object around the space. I am looking to move upstate to somewhere quiet, maybe Hudson Valley or even further north.
There seemed to be some scenes that dealt specifically with audience participation or existed on their own as vignettes, such as the ‘#TweetDances,’ inspired by audience members’ tweets which then become a theme for an improvisational dance the day of the show (performed a marvelously random four times in a row by Kyla Ernst-Alper the night I went.) The other scenes seemed to be grounded in a narrative pattern, the most recognizable one (or perhaps the scenes that were chosen the night I attended!) about a couple who met on a blind-date, and whose conversations and developing relationship were a contemplation of the human need and desire to create meaning out of nothing. Mee and playwright Jessie Bear, not only seeks unconventional ways to expand on the relationships between the audience and performance, but goes so far as ‘inviting audiences to the live creation of our ‘plays’’.
The space was a sort of incubator, eliciting a mode of audience hyper-attention: of placing every object, human, and their interactions under the scrutiny of complete visibility that is fluorescent lighting. The narrative scenes are very well crafted so that a chance selection of any number of scenes would most likely produce recurring characters and storylines that we could easily follow. Not all the scenes are performed; a handful of titles still left on the post at the end of the performance made me curious about what I had missed.



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