A few reasons to see 11 Apocalypses


Do you enjoy apocalypse scenarios? But, no, not just one at a time. Do you want to watch eleven different apocalypse scenarios in the span of two hours? Are you just an ardent fan of symbolism? Do you yearn to watch an unbelievably unique play? Even if you answered no to all three questions, you should still head over to the PW Downspace to watch Evan Silver ’16‘s 11 Apocalypses (showing on Friday at 8 p.m., Saturday at 7 p.m. and 11 p.m., Sunday at 8 p.m., and Monday at 8 p.m.).

If I still haven’t convinced you, read on for a few more specific reasons to go.

  1. The Apocalypses


Influenced by old stories and archetypes, Silver crafts a delicately intricate multiverse of eleven separate worlds. The storylines are extremely diverse: a millennial trapped at sea, a woman struggling to answer big questions after the rapture, and a man finding himself obsessively entranced in jazz. My personal favorite apocalypses were Sandy’s (BlogDH staffer Jessica Steans-Gail ‘16) hilariously loopy disillusions while trapped in a freezer and Minden’s (Jesse Weil ‘16) tender, yet excitingly tense interactions with Candace, a robot. However, it would be unjust not to applaud the force of Eve’s (Ellie Gravitte ‘17) and Jupiter’s (Katherine Doherty ‘16) explosive performances in which viewers are struck by the suffocating desperation and complex spectrum of human emotions behind their words.

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PW Presents: For Colored Girls Who Have Considered Suicide / When The Rainbow is Enuf

There is only one more chance to see For Colored Girls Who Have Considered Suicide / When The Rainbow is Enuf in the Downspace and I highly suggest you take it.

This emotional piece weaves monologues and movement into a depiction of the simultaneous hardship and empowerment of being a woman of color. The fourth wall is broken down throughout the play as the actresses stare directly at their audience. The show twists through stories with jolting endings, making this actor/audience connection all the more unsettling–and effective.

While the show issues a trigger warning for rape, domestic abuse, violence, mental health, and suicide, there are also light-hearted moments that breathe a sigh of relief into the piece without trivializing the more severe material. The poetry is lyrical and layered and it is worth it to see the show just for the brilliant script. But what infuses the text with gripping significance is the incredibly dedicated performances given by the seven actresses. Directed by Nikteha Salazar ’16, this show is brutally honest and complexly beautiful.

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