Irreverent local monologuist Josh Kornbluth turns his considerable powers of pondering to Andy Warhol's Ten Portraits of Jews of the Twentieth Century. Raised atheist by Marxist parents, Kornbluth reacted strongly when he first saw Warhol's 1980 exhibit at The Contemporary Jewish Museum of San Francisco. Commissioned by the museum to explore his unease on stage, Kornbluth developed his latest one-man show, Andy Warhol: Good for the Jews?, turning his theatrical monocle on pop art, cultural Judaism, and what on god's green earth Warhol's motives were.
Grief - and what occurs in the space between loss and healing - is explored via Jenny Schwartz's adeptly fragmented prose in God's Ear. When a couple's son drowns, they're bowled over by the expected guilt, love, and pain. But life's ceaselessly marching parade of waiting rooms and loose teeth and barroom insults don't stand quietly by until the confusion passes.
Schwartz's fragmented language and director Erika Chong Shuch's swirl of movement are a compelling frame for the bravery and mistakes and hallucinations (in the guise of cameos by the Tooth Fairy and G.I. Joe) that occur as parents navigate their loss.