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REZA ABDOH - Full Productions 1989-1993

Reza Abdoh (1963-1995) was an Iranian-born American theatre director and playwright known for his groundbreaking, experimental productions. Abdoh died of AIDS in 1995 at the age of 32, having created an impressive body of stage spectacles known for their sensory overload, ferocious energy and hallucinatory dreamscapes. Abdoh was an enigmatic and prolific creative force and with his company, Dar A Luz, formed in 1991, he created productions that have made a major impact on experimental theatre worldwide and whose influences are still being felt and talked about to this day.

Tight Right White (1993) - New York - Created and Directed by Reza Abdoh

Tight Right White premiered in 1993 in New York at 440 Lafayette street 6th Floor

Presented by Dar a Luz
Created and Directed by Reza Abdoh
Producer, Diane White

Performers: Brenden Doyle, Anita Durst, Tom Fitzpatrick, Stephen Francis, Jacqueline Gregg, Gerard Little, Dana Moppins, Randi Pannell, TP Simon, Rafael Pimental, Carlos Rodriguez, Royston Scott, Tony Torn, James Williams

Sets, Michael Casselli; lights, Rand Ryan; sound, Raul Vincent Enriquez; costumes, Alix Hester; video, Adam Soch; film Greta Snider; musical direction, Elizabeth Shaler; choreography, Felix Fibich, Nelson Vasquez and Flo Vinger; masks, Josep Cordona; assistant director, Juliana Francis; production stagemanager, Mike Taylor; company manager, Rupert Skinner.

"In 1993, Abdoh premièred 'Tight Right White.' I saw this show seven times, and remember it in a way that I remember few others. Staged in a loft on Lafayette Street, across from the Public Theatre, the piece used the film adaptation of Kyle Onstott’s 1957 novel, 'Mandingo,' as its primary script. Sitting on cushions on the floor, audience members had to crane their necks to see the proceedings. Enter Moishe Pipik (the amazing Tony Torn), a long-nosed Jewish character in a huckster’s checked suit. When he pisses in a pot of earth, a money tree springs up. Moishe has a friend, Blaster, a black teen-age junkie and drug dealer. They’re refugees, in a sense—racist and anti-Semitic parodies of Jewish liberal identification with blackness. Sometimes they hang out as if they were on a talk show, their chatter intercut with all that 'Mandingo' mess, Mandingo’s black phallus looming in the minds of the white people who constructed their dream of an antebellum South on black backs. Like Faulkner before him, Abdoh offered a powerful commentary on how sex drew whites to blacks in the South, but in his version there’s nothing sentimental about the characters’ choices and fears: they’re ruined people, in thrall to the patriarchy." – Hilton Als
From 'The Aural Dissonance of Reza Abdoh' New Yorker Magazine, June 2018
Read Als’ full article:

Adam Soch's feature-length documentary on Abdoh and his work, REZA ABDOH: THEATRE VISIONARY



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