Author: Stanford Friedman

Maple and Vine

In 2015, Harrison gave us one of the eeriest, most fast-forwarding plays of that season, the Pulitzer nominated Marjorie Prime. This 2011 work shares some of Marjorie’s warnings about technology and concerns over the survival of the nuclear family, but it often seems to be in rewind mode, establishing themes and plot points only to reestablish them later on. Meanwhile, on a whole other level, this particular production is also about how we communicate and how we stay silent, for it is staged by the New York Deaf Theatre, a nearly 40 year old company of deaf, hard of hearing, and hearing actors who perform works in American Sign Language.

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The Gentleman Caller

Opposites attract, especially when they’re plastered. So, when a flamboyant Tennessee Williams and a repressed William Inge guzzle a bottle of gin then follow it up with a bottle of whisky, the two men get awfully handsy, and obscenely footsy.

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The Iceman Cometh

In this distinguished and exuberant Broadway revival of the 1939 Eugene O’Neill classic, the denizens of Harry’s inhabit a perpetual fugue state, circa 1912, where yesterday was the best of times and tomorrow is the reason to drink away tonight.

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We Live By the Sea

A captivating examination of an autistic girl’s struggles. Yes, we are transported, but rather than forgetting we are sitting in a theater, we are instead transformed into make-believe characters.

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Escape to Margaritaville

Like a lost flip flop floating up from a low tide, Escape to Margaritaville surfaces, revealing an isle where local inhabitants and vacationing Midwesterners sing only Jimmy Buffett while occasionally hooking up and/or breaking out in dance.

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