The Hypocrites Present K. Based on Franz Kafka's Classic, The Trial
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The last date listed for The Hypocrites Present K. was Sunday November 28, 2010 / 3:00pm.
Reviews & Ratings
Featured review from newenglandRed Velvet
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A wonderfully entertaining show in the absurdist tradition! The acting was first rate, the stagecraft was inventive. For us, highlights included the inclusion of the front row audience in some of the banter. Show time passed very quickly, with never a thought about when it would end!
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if there was an "F Minus" available in the spectrum of grades, this play would certainly earn that. the raw side of the absurd had married a bland and forced humor which ultimately render the pénible. the closed door (or rather, slammed door)...continued
Quotes & Highlights
K. is highly recommended by the Chicago Sun-Times, received four stars from TimeOut Chicago and was named a critic’s choice by the Chicago Reader.
K. won writer/director Greg Allen a Best Director award at the New York International Fringe Festival as well as the After Dark Award for Outstanding New Production.
“Smartly amusing…genuinely potent revival of K.” —Chicago Tribune
“A sharp, chameleonic ensemble swirls around the impressive (Brennan) Buhl.” —TimeOut Chicago
“…smart, funny, and provocative.” —Chicago Reader
“…great triumph…funny, insightful, and sharp…” —Centerstage
“…one heck of an entertaining evening.” —From the Ledge
“With K., his brainy, vivid, playfully faithful new stage adaptation of Kafka’s novel now being mounted by the Hypocrites (the company that triumphed in David Cromer’s “Our Town”), writer-director Greg Allen, founding director of the Neo-Futurists, has ingeniously captured the spirit of the book while adding just the right postmodern edginess to the original. And his remarkably deft cast of eight is with him on every page of Joseph’s disorienting journey into what might be reality, with all its injustice, but just as easily could be the twisted, guilt-infused imaginings of his own psyche." —Chicago Sun-Times
Greg Allen, Founding Director of The Neo-Futurists, brings _K., _his award-winning adaptation of Kafka’s The Trial to The Hypocrites. This two-act nightmare-comedy tells the famous story of how Joseph K. awakes one morning to find himself mysteriously arrested – seemingly without having done anything wrong. Caught in a sort of actor’s nightmare, K. must then navigate through officers, lawyers, artists, priests, lovers, and whippers to determine his fate. Highlighting the dark humor in Kafka’s parable, Allen employs masks, music, puppetry, and his trademark meta-theatrics to tell this surprisingly contemporary tale.
*Greg Allen *is the founder of The Neo-Futurists and creator of over two dozen productions including the legendary _Too Much Light Makes The Baby Go Blind which has been running weekly in Chicago since the Reagan administration. His works include _The Last Two Minutes of The Complete Works of Henrik Ibsen, _Jokes and Their Relation to the Unconscious _(a comedy to end all comedy), H20_, and A Child’s History of Bombing_. His collaboration with Theater Oobleck, The Complete Lost Works of Samuel Beckett As Found In An Envelope (partially burned) In A Dustbin In Paris Labeled “Never to be performed. Never. Ever. EVER! Or I’ll Sue! I’LL SUE FROM THE GRAVE!!!” has enjoyed ten international productions including a three month UK tour and and two off-Broadway revivals in 2006. His environmental collaborations - Boxing Joseph Cornell; Lear’s Shadow_; and _Crime and Punishment: A (mis)Guided Environmental Tour with Literary Pretensions — have seen long successful runs at his home Neo-Futurarium.
Allen teaches residencies in Neo-Futurism at universities and theater programs across the country as well as in Chicago where he teaches playwriting at the University of Chicago. He is a proud graduate of Oberlin College.
About the Ticket Supplier: The Hypocrites
Their mission, which is ever-evolving to adapt to the growth of their organization, is to make a Theater of Honesty. They define a Theater of Honesty chiefly through two elements of their work: performance and presentation. In performance, their actors shall employ a genuine emotional vulnerability, rather than manufacturing a disconnected, intellectual version of emotion. In presentation, they shall acknowledge their presence in a theater and embrace high theatricality. Through this balance of an unyielding emotional honesty and accepting a concept of “play,” they seek to strengthen the connection between artist and audience, enriching their audience’s imaginative experience. Ultimately, they aim, perhaps somewhat naively, to spread understanding within society, thereby minimizing cruelty