The production proceeds at a pace that is one gear less than energetic, but which allows for full appreciation of the show’s eccentricities.Read More
Author: Stanford Friedman
While the titular character, Richard “Dick” Gloucester, is indeed a teenager, he has an old soul. A 425-year-old soul to be precise, for within his twisted frame lurks the tortured and villainous mind of Shakespeare’s Richard III.Read More
The more you know about the original, the more you’re likely to appreciate this effort. It’s an odd homage, as well as a deep dive into gender studies, that somehow ends up being more a dissection of Tennessee Williams than of Albee, and which proves overly complicated in its attempts to liberate its female protagonist amid a barrage of cultural and literary shout-outs.Read More
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.Read More
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.Read More
Join our mailing list to receive the latest news and updates from our reviewers.