From Library Journal
Performance art is an ephemeral art form. The "play" can differ greatly from performance to performance, depending upon the interpretation of the moment by the artist. Nevertheless, Margolin, a founding member of the performance group Split Britches, has described herself as more of a playwright who chose to perform her own work than as a performance artist. This collection of seven works, along with commentary, provides a window into her creativity. The intense visual nature of this type of theater, which includes interaction with the audience, requires that the written form communicates the intent of the playwright even more clearly than a typical play. Some of Margolin's work contains sufficient stage direction and detail for the reader to grasp the work, and some does not. For theater collections only.AJ. Sara Paulk, Coastal Plain Regional Lib., Tifton, Ambrose, GA
Copyright 1999 Reed Business Information, Inc.
New York^-based performance artist Margolin isn't nearly as well known as such more outrageous, taboo-flouting peers as, oh, Karen Finley. That is a shame because Margolin creates intelligent, incisive, richly textured pieces that put the often subliterate work of higher-profile artists to shame. She began her career in the early '80s, writing material for the feminist troupe Split Britches, making a name for angry but intensely funny deconstructions of the world. By the early '90s, she was on her own, with status in the downtown scene, regularly receiving kudos in the
Village Voice and the rest of the New York press.
Of All the Nerve includes the scripts of seven solo shows. The title piece, a wonderful, whimsical meditation on the nature of performance and a performer's life in New York, combines with the others to reveal Margolin's full range. The scripts are accompanied by essays and commentaries by Lynda Hart that--annoying, dense, impenetrable, self-indulgent--make quite a contrast to Margolin's accessible, carefully crafted writing.
Jack Helbig