The Mercy Seat by Neil LaBute, written in 2002, is one of the earliest theatrical treatments of the horrendous event. As I said before, theatre is memory, and what better way to discuss than through the stage. Set on September 12 in a nice Manhattan loft, Ben (Aleksander D’Avignon) is sitting on the couch, speechless. The first scene, literally, visually, and createvely, starts with a bang as Ginger Chody’s lighting, mixed with contouring shadows and a bright orange, sets the mood, along with Jaden Guerrero’s sound, which, per usual, sets the mood in a precise and corresponding manner.

plays like Carla Navarro’s Fragment/o/s of Air/e premiere, bringing a gust of fresh air and yes, a (semi) sense of purpose.

Ah, the “Golden Age of Cinema,” those black and white movies full of sass, drama, and good-looking people…There’s the same effect in Mexico with “El Cine de Oro”, same thing.