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Annie Rasiel

@annierasiel

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A twenty-eight year old incel, Miller, and a trans-questioning nineteen year-old, Target, meet in an internet chat room. That’s the premise for playwright Else Went and director Emma Rosa Went’s play “Degenerates,” the subject of today’s BOMB Online interview. Over measured pacing, “Degenerates” contends that we form our identities in relation to others–through collisions that are surprising, uncomfortable, and even sexy.

“Degenerates” has been extended at Playwrights Horizons in Manhattan through November 1.

Follow our link in bio to read Else Went and Emma Rosa Went’s full conversation with playwright, filmmaker, and educator Annie Rasiel.

Image: Performance still from Else Went, “Degenerates,” 2026. Christopher Dylan White pictured. Photo by Jackie Abbot. Courtesy of Playwrights Horizons, New York. by @annierasiel

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8 days ago

EXCUSE ME WHO IN THIS CABIN IS ON THEIR PERIOD RIGHT NOW??!

If you are on your period right now that means we are SYNCHED which is part of women’s powers and nobody knows why it happens which means basically it’s magic which means you’re my magic sisters now!!!!!! by @annierasiel

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25 days ago

If you don’t love me at my I’m gonna stomp on women like a t-rex you don’t deserve me at my life was endlessly ceaselessly possible by @annierasiel

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2 months ago

Went to three film festivals this spring if you even care!!!!!!! by @annierasiel

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3 months ago

Pescador producer @annierasiel discusses the role of intuition in the film, both in the lead character’s research and @harrydrossi ‘s approach to directing during our premiere press conference at @iffigoa in India. taken in Costa Rica by @annierasiel

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4 months ago

Here are some pictures of me being 32! I wonder what I will look like being 33!!!! by @annierasiel

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5 months ago

Natasha appreciation post

#natasha #appreciation #nicecat by @annierasiel

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6 months ago

@annierasiel in conversation with Daniel Okrent @danokrent about his new biography on Steven Sondheim— a god to many— part of the @jewishlives series from @yalebooks.

“For Sondheim’s music specifically, it’s so intricate. The people who don’t like his music or who say he’s primarily a lyricist haven’t listened closely. There are things that he does musically that are so counterintuitive. Half of “Barcelona” is two chords, back and forth, back and forth. Long stretches of “Someone in a Tree” are one chord. He doesn’t modulate at all. It goes on for 16, 24, 32, measures on one chord. This was an extremely sophisticated composer. He was doing this for a reason, and it comes across in the meaning of the song.“ by @annierasiel

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6 months ago

@annierasiel in conversation with Emily Batsford on @cumuloshow: puppets, free fall, skydiving, and the Wizard of Oz. @mitu580

“Puppets have incredible potential for catharsis. As an actor, I can only tell a story through my own physical appearance. I can put on makeup or I can add a wig, but the audience is always going to meet me here at what I am, and there’s not much I can do about that. With a puppet, we have infinite space in which to meet. There’s so much room for imagination.” taken in Mitu580 by @annierasiel

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6 months ago

@annierasiel in conversation with Chela De Ferrari, the founder of Lima’s Teatro La Plaza and director of HAMLET currently playing at @theatreforanewa @teatrolaplaza.

“The piece is deeply rooted in the specific people who created it. Their voices, their biographies, their ways of being are not interchangeable. The structure of the work emerged from that encounter, so it is not easily transferable. If a performer leaves or enters the process, the piece changes. It is not a fixed script that can simply be reproduced. That said, we did have one very particular experience during our first season in Lima that made us reflect on this in a very concrete way. One of the actors became ill on the day of a performance and couldn’t go on. We had very little time to react, and we didn’t want to cancel the show—the rest of the cast didn’t want to lose the performance either—so we invited a neurotypical actor at the last minute. We gave him the text, and he performed the role reading his lines on stage. What was striking about that experience was that the actor who entered was at a disadvantage. He was the one who didn’t fully know the structure, the rhythms, the internal logic of the piece. The other actors guided him through the performance. They corrected him, they showed him where to stand, they helped him navigate the scene. The usual hierarchy was reversed. It became a very special performance. And, fortunately, the next day we had our actor back.” taken in Theatre for a New Audience by @annierasiel

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7 months ago

Up today! @annierasiel in conversation with (her idol) John Waters about his upcoming 80th birthday one-man show at Adler Hall. @john_waters_divine_trash_page

“For my 40th birthday party, I rented out a retirement home. My 50th birthday was at Pravda in New York, and my 60th was at a fancy club in New York. For my 70th, I took six friends to Paris first class, and for my 80th, I’m going to Europe.“ taken in Adler Hall by @annierasiel

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7 months ago

@annierasiel in conversation with @rachel.chavkin and @stephpaul18 on MY JOY IS HEAVY at @nytw79 @thebengsons @printshoppr.

“These characters are versions of themselves from five or six years ago. There’s creative license in that. There’s a lot of craft in it. Abigail and Shaun are adamant that they want the most theatrically effective version of the story, not necessarily the most literally accurate to their lives. We also talk a lot about questions like, ‘How do you guys fight when you fight?’ and ‘How would you guys touch each other if you were celebrating?’ And, as a collaborator of theirs, I’ve gotten to witness their dynamic together since 2014. It’s been a delight.”-Rachel Chavkin

“The movement also came from being in relationship with them as people. The offerings from the film were like little amuse-bouche, just a little taste. Then I got the other ingredients from watching their bodies in person and honoring the language on the page. This text is so alive. That’s when I know that I can really find my way into something: when I can just be in relation to text, and my body is already starting to respond. They are exceptional musicians, exceptional storytellers. The language sings. They open up a portal to somewhere beyond this earth for me and my body.”-Steph Paul taken in New York Theatre Workshop by @annierasiel

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7 months ago