Warhol’s circle produced theater that deliberately wrecked theatrical conventions.

Evidence

Conquest had a vaudevillian quality, incorporating all manner of performances. Recently returned to New York, Taylor Mead had a featured cameo as Peter Pan. Sailing into the action in Kelly green tights in the middle of the first act, he sang “I’m Flying” while perched on a drop-down swing. (“They’re hiring me to wreck plays now,” he told Sally Kempton in a Voice profile published to coincide with the play’s opening.) Each night before the curtain went up, according to Warhol superstar Ultra Violet, who brought Marcel Duchamp to the November 21 performance, Ondine, King of Mars, gave himself a ceremonial speed poke in full view of the cast. — J. Hoberman, Everything Is Now, 1108

Categorization

• XREF: connects to: Warhol responded to creative competition by deliberately making bad movies — J. Hoberman, Everything Is Now: The 1960s New York…, 813; Underground theater blurred sacrilege, vaudeville, and improvised chaos — J. Hoberman, Everything Is Now: The 1960s New York…, 1392; Forced audience participation in avant-garde theatre could physically humiliate critics — J. Hoberman, Everything Is Now: The 1960s New York…, 1669 (+1 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Warhol responded to creative competition by deliberately making bad movies — J. Hoberman, Everything Is Now: The 1960s New York…, 813; Underground theater blurred sacrilege, vaudeville, and improvised chaos — J. Hoberman, Everything Is Now: The 1960s New York…, 1392; Forced audience participation in avant-garde theatre could physically humiliate critics — J. Hoberman, Everything Is Now: The 1960s New York…, 1669 (+1 more)