The featured show in the NYTW line-up is "Iraq Refugees Project," a piece of documentary theater written and directed by Jessica Blank and Erik Jensen. The performance is based on a series of monologues inspired by the writers' firsthand conversations with Iraqi refugees in Jordan.
Although the serial monologue format of the performance seems rather minimalist, it possibly lends more impact to the content.
By using the words of those who have been displaced by violence, this work seeks to spread awareness of the real suffering that stems from war, among an audience that largely understands war only in the abstract.
Though the dramatization of such experiences arguably adds a layer of artifice to the humanity the artists are trying to reveal, the attempt is noteworthy and whether or not it is successful as a work of theater, "Iraq Refugees Project" is definitely worth seeing.
In addition to "Iraq Refugees Project," the NYTW is also putting on "Ameriville," a play that similarly explores political and social issues, though through a domestic rather than international lens.
A show that integrates a wide range of artistic expression including poetry, several genres of music and visual art, "Ameriville" ambitiously attempts to address a myriad of issues ranging from poverty to censorship.
The play, like numerous other artistic works, examines these concerns through the aftermath of Hurricane Katrina.
Though the issues considered and the context in which they are presented are undeniably crucial to the identity and the progress of America, the scope of both the media involved and the content is overwhelming for one play.
It leaves little doubt that the result will be a shallow and disjointed introduction that fails to measure up to the many existing works in the same vein.
Another likely disappointment is "Punkplay," an aptly named work that explores the rebellion of Mickey, the 13-year-old misfit, who dabbles in punk culture and eventually finds it to be as much a suppression of his self as his real suburban life.
Like that of "Ameriville," the premise of "Punkplay" is far from original, although its lighter subject matter makes it less clich.
A more promising NYTW offering is "Dawn," a show about an alcoholic father's struggle to heal his broken relationships and come to terms with the reality of his life.
Since the theme of benevolent religion is far less popular in modern drama than that of oppressive religion, "Dawn" promises to present an interesting counterpoint to the usual fare.
It is possible, however, that the "dark revelations" hinted at by the show's description will keep the play from falling too far into the preacher's pulpit, as "Dawn" has the potential to be a probing piece of theater that satisfies the audience's intellect and artistic expectations.
Alhough the NYTW is known for producing innovative and quality works of theater, the line-up at Dartmouth lacks originality. The themes of most of the performances are clichd and easily lend themselves to melodrama.
While the premises of the new works are not innovative, they certainly are topics relevant in today's world. Perhaps the NYTW's presentations will somewhat rescue these important subjects from the doldrums of mediocre performances.
