If you look at theater in the U.S. today, you’ll notice that a lot of it is weird. Annie Baker’s John, Clare Barron’s Dance Nation, Will Arbery’s Plano, Amina Henry’s The Great Novel: All of them contain eerie, restless, Lovecraftian energies. Before them came the influential playwright Mac Wellman, a fixture of downtown experimentalism since 1979 and the longtime head of the Brooklyn College playwriting program, where his students included Baker, Barron and Henry. (He retired this year.) Wellman’s linguistically complex comedies, pitch-black at their hearts, worked out how to put that uncanny throb of horror onstage, and a Wellmanian sense of unease pulses through American theater even now.
To celebrate Wellman’s contributions, the Flea Theater—which he cofounded in 1996—is throwing a festival called Mac Wellman: Perfect Catastrophes. Cast with the Flea’s non-Equity company the Bats, the plays run the gamut from absurdist adventure to political satire and back, with detours into sheer, language-drunk, poetic nonsense. Which ones are right for you? Here is our easy-to-use guide to the series, with a Mac-derived ratings system to help you find your algorithmically determined match.Read More