![]() ![]() Actors writhe and contort on each other and every set piece, almost everyone disrobes down to their undergarments, cocaine is snorted off of every surface, including a toilet seat, and the company grope themselves (and each other) in every combination before the two hour running time has concluded. But I think this is precisely Elias’ intention and, on that point, he succeeds. I would actually go so far as to say that this is an almost macabre interpretation, one that pushes the envelope on depravity. ![]() Program notes from Director Sean Elias tell us that Iron Crow’s season is one of “dark play” and his staging certainly serves that theme. the cast of Iron Crow Theatre’s ‘The Wild Party.’ Photo by Rob Clatterbuck. It’s also the first line in Andrew Lippa’s musical version of the material, which is being staged by Baltimore’s Iron Crow Theatre in its most ambitious season to date. If Iron Crow, Baltimore’s only queer theatre, is not loyal to its source’s Jazz Age place and time (more on that later), it certainly evokes a decadent world teetering on the brink and people who live on its fringes with nothing to lose. So begins Joseph Moncure March’s 1928 narrative poem “The Wild Party” about a group of show people and the hedonistic event of the title, which is its setting. Queenie was a blonde and her age stood still,Īnd she danced twice a day in vaudeville. ![]()
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