The Mint Theater Company holds a unique place in New York’s theater scene. Since 1992, their mission has involved creating vibrant revivals of “worthy but neglected” older plays. Over the years, they have had more hits than misses, and now they have struck gold once again with this shiny production of George Kelly’s 1946 seriocomedy, The Fatal Weakness.Read More
Author: Stanford Friedman
Smoke is a difficult play on many levels. The characters are gripping, but not at all likable. There is humor, at times, but it’s the kind that leads to uncomfortable laughter. And the storyline subverts audience expectation at nearly every turn.Read More
FringeNYC turned 18 this year, a mere child compared to the Edinburgh Festival Fringe which has been around since 1947. But this year’s efforts on the Lower East Side seem quite mature nonetheless, with new features like on-the-fly mobile ticketing, performances that have begun and ended on schedule, and comfortable spaces where the air conditioning actually works. It is fitting, then, that one of its final productions for 2014 is a tribute to growing up while trying to stay vital. Indeed, Confessions of Old Lady #2 is nothing if not a lesson on aging well while on the outskirts...Read More
The works of Tennessee Williams can be sorted into three distinct categories: A) The great plays, B) the awful plays, and C) the obscure plays, several of which were merely fragmented interludes that would later be transformed into his great or awful plays. As an obvious precursor to A Streetcar Named Desire, the 1946 one-act, Interior:Panic, presented by the Hedgepig Ensemble Theatre at FringeNYC, clearly falls into this last category. For those who know nothing of Streetcar beyond Marlon Brando’s moody ballyhooing of “Hey Stella!,” there may not be enough meat on the bones of this half-hour psychodrama to appreciate it...Read More
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