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The Lily's Revenge Taylor Mac

Taylor Mac in The Lily's Revenge The Lily's Revenge The Lily's Revenge The Lily's Revenge The Lily's Revenge

Taylor Mac on "The Lily's Revenge"

Funding

THE LILY'S REVENGE was developed at HERE Arts Center through the HERE Artist Residency Program (HARP) with the assistance of the Sundance Institute Theatre Program; and at New Dramatists as part of the Working Sessions Program and with support from the Creativity Fund. THE LILY'S REVENGE is a project of Creative Capital, which currently receives support from The Andy Warhol Foundation for the Visual Arts, Doris Duke Charitable Foundation, Ford Foundation, The William and Flora Hewlett Foundation, The TOBY Fund, The James Irvine Foundation, The Nathan Cummings Foundation, and more than 150 other individuals and institutional donors; and was made possible in part by The MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation; the Franklin Furnace Fund for Performance Art, supported by Jerome Foundation and the New York State Council on the Arts, a state agency; Ars Nova; the New York State Council on the Arts Individual Artists Program; The JB Harter Charitable Trust; and The Visionary Trust.

The Lily's Revenge played from October 29 - November 22 in the Mainstage Theatre.

About the show

An uprooted lily goes on a quest to wed a human bride and destroy The God of Nostalgia.

Genre squishing Taylor Mac and a company of 40+ unravel our national pastime of melancholy remembrances. The Lily's Revenge is a 5 part extravaganza featuring live music, wild costumes, vaudevillian theatrics, macabre entr'actes, a million sequins, and a few flowers.

Credits

Written and Conceived by Taylor Mac
Dramaturgy by Nina Mankin
Directed by Paul Zimet, Rachel Chavkin, Faye Driscoll, Aaron Rhyne, David Drake, and Kristin Marting.
Composed by Rachelle Garniez
Production Stage Manager Julia Funk
Musical Direction and Arrangements by Matt Ray
Costumes by Machine Dazzle
Makeup by Derrick Little
Sets by Nick Vaughn
Lights by Seth Reiser
Puppets by Emily Decola
Part Four Video by Aaron Rhyne
Part One Choreography by Julie Atlas Muz
Associate Producer Abrons Art Center

Starring (in alphabetical order):
Vanessa Anspaugh, Kayla Asbell, Jonathan Bastiani, Salty Brine, World Famous *BOB*, Heather Christian, Matthew Crosland, Darlinda Just Darlinda, Machine Dazzle, Mieke Duffly, James Tigger! Ferguson, Daphne Gaines*, Sashi Gollub, Ikuko Ikari, Barbara Lanciers, Kristine Lee, Miss Bianca Leigh, Taylor Mac, Ellen Maddow*, Glenn Marla, Muriel Miguel*, Una Aya Osato, Frank Paiva, Cyndi Perczek, Edith Raw, Kim Rosen, Tina Shepard*, Saeed Siamak, Phillip Taratula*, Rae C Wright*, Nikki Zialcita, Amelia Zirin-Brown

*denotes Actors Equity Association

With additional filmed performances by Cary Curran, Coleman Domingo, David Drake, Bridget Everett, Matt Fraser, Tracey Gilbert, Karen Hartman, Morgan Jenness, Karen Kohlhaas, Lisa Kron, Nina Mankin, Dirty Martini, Julie Atlas Muz, Our Lady J, Mandy Patinkin, James Scruggs, Lucy Thurber and voice over work by Justin Bond.

Show Press

“…the riot of styles sometimes clashing and sometimes coalescing during “The Lily’s Revenge” offers so many incidental pleasures that theatrical time — always a curiously malleable element — seems to contract.”
— Charles Isherwood, New York Times
“In its bravery, scope, creativity, extremity and sheer generosity of spirit, The Lily’s Revenge, to my mind, surpasses any American theater in New York this year. Lolling and popping at the bull’s-eye of the show is the playwright himself, one of the most exciting theater artists of our time.”
— Adam Feldman, Time Out New York
“If there were a prize for Most Ambitious Nutty Project of the Year, "The Lily's Revenge" would win, hands down.”
— Elisabeth Vincentelli, New York Post
“intelligent, endlessly surprising, and above all spectacularly entertaining. It inspires hyperbolic pronouncements like "the most important event of the theater season"...and then thumbs its nose at such portentous preposterousness (or bares its bottom; it's that kind of cheeky show, after all)”
— Martin Denton, nytheater.com