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Taylor Mac(who uses ""judy""-lowercase [sic]-as a gender pronoun) is the author ofJoy and Pandemic;The Hang(composed by Matt Ray);Gary: A Sequel to Titus Andronicus;A 24-Decade History of Popular Music;Prosperous Fools;The Fre;Hir;The Walk Across America for Mother Earth;The Lily's Revenge;The Young Ladies Of;Red Tide Blooming;The Be(A)st of Taylor Mac; and the revuesComparison Is Violence;Holiday Sauce; andThe Last Two People on Earth: An Apocalyptic Vaudeville(created with Mandy Patinkin, Susan Stroman, and Paul Ford).Mac is the first American to receive the International Ibsen Award; is a MacArthur Fellow, a Pulitzer Prize finalist, a Tony nominee for Best Play; and is the recipient of the Edward M. Kennedy Prize for Drama Inspired by American History (with Matt Ray), the Doris Duke Artist Award, a Guggenheim, the Herb Alpert Award, a Drama League Award, the Helen Merrill Award for Playwriting, the Edwin Booth Award, two Helpmann Awards, a New York Drama Critics' Circle Award, two Obies, two Bessies, and an Ethyl Eichelberger. Matt Ray is a New York-based pianist, singer, songwriter, arranger, and music director. His arrangements have been called ""wizardly"" (Time Out New York) and ""ingenious"" (New York Times), and his piano playing ""classic"" (New York Times). For his work on Taylor Mac's show A 24-Decade History of Popular Music he won the 2017 Kennedy Prize for Drama Inspired by American History. Notable live performances include playing at Carnegie Hall with Kat Edmonson, the Hollywood Bowl with reggae legend Burning Spear, Lincoln Center with Joey Arias, and shows in Paris and the UK with Justin Vivian Bond. He co-wrote songs for and performed in Bridget Everett's one-hour Comedy Central special Gynecological Wonder as well as Everett's hit show Rock Bottom. He also music directed Taylor Mac's Obie award-winning play The Lily's Revenge. Ray has released three albums as a leader: We Got It! (2001), Lost In New York (2006); and Songs For the Anonymous (2013).
The Hang feels like a celebration of theater itself--a paean to collaboration and company, to rampant beauty and to the necessary balm of gathering together. --The New York Times The most daring aspect of The Hang is also its most heartening: About a man's death from hemlock poisoning, it is unfailingly joyous, and never takes itself too seriously. It is a radical declaration of queer frivolity in our severe age, and it restores my faith that there is still room for dangerous ideas and weird people in the New York theater. --TheaterMania At a time when self-restraint and simple good taste can seem in desperately short supply, Mac continues to be that rare artist who proves that sometimes too much is exactly enough. --New York Stage Review
