Lost Labor's Loved

Cast Requirements

Cross-casting makes anything possible.

Set Description

NA

Production and Development History

Produced once as an Equity Showcase at NADA in NYC in 1997. Full production history at inversetheater.org.

Honors

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Publisher

NA

Press

Press for Bromley plays over the years:

“Exceptionally clever; so clever it hurts” – TheHappiestMedium.com, 2011

“Further than terrifying. Further than disturbing. Further than uncomfortable.” – TheFabMarquee, 2010

“Marvelous, maddening, dizzying…one of the most adroit, fully present ensembles I can remember seeing.” – Claudia La Rocco, NY Times, 2009

“Exhilarating and fun…Did I mention there’s a good deal of singing and dancing?” – Martin Denton, nytheatre.com, 2009

“The most important new American play of the season.” - nytheatre.com, 2008

“Genius…as stimulating visually as it is intellectually…the banter, reflection, and fantasy in his text possess all the vitality and zaniness of 120 actors.” -backstage.com, 2008

“Immensely imaginative.” - offoffonline.com, 2008

“The Verse-Play Champion” – Michael Feingold, Village Voice, 2005

“Very impressive! A nonstop parade of puns, tweaked aphorisms, and linguistic gymnastics…a barrage of jokes that hit more than they miss.” – The New York Times, 2005

“If you prize the kind of theatre where language flexes its muscles to challenge your intellect, where pure poetry produces gasp-inducing flights of fancy, where ideas leap ingeniously all over the stage making connections you never quite saw before—then this is the show you will want to see this month.”- nytheatre.com, 2005

“Poignant and thrilling…egregiously absurd…the inspired blocking and choreography keep things lively.” – The Village Voice, 2005

“Kirk’s writing is some of the most crafted, interesting stuff in the New York theater. And it’s almost as much fun to read his plays as it is to see them — he’s one of the few playwrights whose work can be considered literature.” – Robert Lopez, Tony-Award winning composer of Avenue Q.

“With ‘The Banger’s Flopera,’ Inverse brings utter and unmistakable excitement back to the theater. Over and above the intelligence of the show, it’s exciting, energizing and an incredible relief to find that there are still passionate and thoughtful artists working in the theater.” – Chris Byrne, Theater Editor, Gay City News, 2005

“So many quippy, quotable lines, they fell off my notepad.” – LA Weekly, 2004

“It sparkles and shines. It rants and raves. Its language is sublime.” – The New York Times, 2003

“Kirk Bromley is one of the most intrepid, visionary playwrights working in New York today. His work should be produced.”
- Greg Kotis, Tony Award-winning author of Urinetown

“Shakespeare on mushrooms!” – L.A. Weekly (Recommended!), 2004

“Near perfect!” – L.A. Times (Recommended!), 2004

“Smart, original and bizarrely funny!” – L.A. Splash, 2004

“Unique and vivid… extremely entertaining!” -Maestro Arts & Reviews, 2004

“Irreverent, timely, fast-paced and funny!” – Pasadena Weekly, 2004

“Bromley’s script … fairly bursts with inventiveness, comic wordplay, and Shakespearean riffs.” Cleveland Scene, 2004

“The Best Musical in the Fringe!” – Time Out New York, 2003

“Inventive drama…perfect!” – The New Yorker, 2003

“Intense originality and passionate intelligence” – NYTheatre.com, 2003

“A quite extraordinarily brilliant piece of theater” – What’s On London, 2002

“Full of lyricism and a fair amount of humor” – The New York Times, 2002

“Theatre at its best” – TalkingBroadway.com, 2002

“For originality, clarity and depth of vision, humor, and utter humanity, who can match this big-souled poet?” – NYTheatre.com, 2002

“The Vanguard Versifier!” – Village Voice, 2002

“A talented up-and-comer.” – Time Out New York, 2002

“A brilliant barrage of wordplay and low comedy…exceptional.” – San Francisco Bay Guardian, 2001

“An overflowing smorgasbord of verbiage and imagination…” – Time Out New York, 2000

“…Bromley is beyond reproach.” – Show Business, 1999

“Bromley writes with witty bite and bawdy flair …a wonderful blend of wordsmithing and wackiness.” – LA Times, 1999

“A bona-fide modern classic…” – LA Weekly, 1999

“Remarkably intelligent… complex…witty…could be on a comparative Shakespeare class syllabus.” – Time Out New York, 1998

“Extraordinary… brilliant…breathtaking…exhilarating.” – NYTheatre.com, 1998

“Bromley is the beloved Bard of Downtown theater.” – New York Magazine, 1998

“Startlingly clever and wise; in comparison, all prose plays seem facile.” – Back Stage, 1997

“Stoppard squeal, and set your pen to squirm! / Bromley would your match be, term for term.” – The Village Voice, 1997

“This verse play speaks directly to its audience’s concerns and in its dialect.” – American Theater Magazine, 1996

“Banger’s is the quintessential counter-culture acid rock and rap musical that is filled with brilliant word play, flaunts metaphors about the stage, and shocks its audience to the point of numbness with an assertive style in performance across the board that would render Max Bialystock of Broadway’s The Producers or even Brecht and Weill’s own version of MacHeath as wimps by comparison.” – CurtainUp.com, 2005

“Fiercely political…shattering and unsettling…a celebration of excess…a post-apocalyptic anti-drug theme park filled with animatronics.” – talkinbroadway.com, 2005

“Great talent! Topnotch! Real flashes of brilliance!” – The New York Sun, 2005

PICK OF THE WEEK! – “Offensive. Appalling. Dirty. Vulgar. Inappropriate. Obscene. Brilliant. It is not to be missed.” – offoffonline.com, 2005

“…surely one of the most overtly raunchy, in-your-face-assailing shows ever put up at FringeNYC.” – nytheatre.com, 2005

“An uncommonly talented cast” – Time Out NY, 2005