Author: Kathleen Campion


Bottom line — I’m really glad I got to see this play.  It has much to recommend it.  It has power and passion and laughter and pathos.  It’s a small room, so not so many tickets.  If you’re asking me, I’d say go.

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The intellectual playfulness of Relevance, which opened Sunday night at the Lortel, has a whisper of Stoppard about it, in that it is a play about ideas and words and their relevance — which could sound stuffy, but plays with enormous vitality.

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He Brought Her Heart Back in a Box

Kennedy haunts her characters with the thundering violence of history.  Kay is bedeviled by her mother’s end.  She will never know if her 15 year-old mother, impregnated by a white man, killed herself or was murdered.  Chris, a white boy of relative privilege, lives with the ghosts of his father’s Negro women and their children.  His mother tells him his daddy loved them more.

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They pull off a hip-hop number with ICE agents (Molly Kelleher, Katie Goodman, Tana Sirois) rapping at a Hamiltonian pace, and an Alice Through-the-Looking-Glass skit about a lesbian couple (Molly Kelleher, Tana Sirois) grossed out by the heteros next door.

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The Parisian Woman

If a four-word review would be useful — and it might be in the Twitterverse we seem to inhabit— the thing to know about The Parisian Woman is that it is mostly “lipstick on a pig.”

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