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If I were to tell you that a theatrical version of William Gibson’s famous novel Neuromancer was going to be performed in a rural Missouri town, starring a radical leftist activist and members of an amateur theater troupe from a local Baptist church, what would you say? It probably wouldn’t be: “Yeah, and wouldn’t it be great if all the cyberspace scenes were done with cardboard cutouts that people move around on stage, accompanied by Indonesian Gamelan music?” And yet that’s exactly what Brody Condon is going to do, next summer, with grant money from the Rhizome Foundation. I know it sounds insane, and that’s precisely the point.

Oh my god. This sounds amazing. Read on.

Mother Jones:

There is perhaps no more fitting backdrop for a production of Samuel Beckett’s Waiting for Godot—whose main characters, Didi and Gogo, spend two acts waiting for a man who never arrives—than New Orleans, where some residents died waiting for rescue after Katrina struck and others still have yet to see their neighborhoods rebuilt.

Earlier this month, the Classical Theatre of Harlem, together with Creative Time, a New York-based art collective, wrapped up a two-week run of Beckett’s most renowned work with a final production in the Gentilly neighborhood. The play’s organizers had to turn people away the weekend before, when Didi and Gogo did their waiting in the still-decimated Lower Ninth Ward.

Read on. [via MeFi]