STEPHEN RAPPAPORT in THE MUSEUM OF CONTEMPORARY ART
THE MUSEUM OF CONTEMPORARY ART is an honest and courageous look at man's inherent fear of intimacy and commitment. It is at the same time a sober and candid illumination of the contemporary male psyche. It's the story about a man who has lost hope in his search for a mate, but makes one last attempt by creating the fantasy love of his life.
Together they go on a passion filled, action packed date to the Museum of Contemporary Art; here slowly but surely, the fantasy woman overpowers the man who created her and all hell breaks loose.Its' the dreamiest, sexiest, scariest date that never happened.
ticket without a meal: 35 euro
ticket with a meal: 55 euro
CRITICS ABOUT THE MUSEUM OF CONTEMPORARY ART
"Brilliant, original and riotously funny,"
"...exquisitely revelatory... a blisteringly funny, hypnotically wild wrestle with the male ego."
Robert Hurwitt, S.F. Examiner
"Rappaport is a virtuoso at expressing all things human."
Joe Adcock Seattle Post-Intelligencer
"A must see show perceptive observations of human nature are matched only by his seductive stage presence."
Barbara Crook, The Vancouver Sun.
"...one of the most exhilarating artists I've encountered...erotic...fresh...alive. All who see this show will be encouraged to open their hearts and bodies to freedom and possibility."
Colin Thomas, The Georgia Straight.
"...amazing physicality...the seductiveness of an uncoiling snake...an honor to bestow."
A. E. White, DB Magazine, Adelaide Australia
"Hilarious...undeniably brilliant...don't miss it."
The Vancouver Courier
"...a tremendously physical, sensual actor...the presence and timing of a great stand-up comic."
Alastair Mabbott, The List Glasgow/Edinburgh
"...entertaining wild fantasy...precise...edgy...engrossing."
The Globe and Mail.
"Great script, mesmerizing performance...astonishing honesty and pure skill.
The Kitsilano News
"His talent and intelligence combined with razor sharp wit and timing make this one of the most hilarious performances of the year."
D. Niedermayer, Fringe Review