I give nothing away when I tell you that this play is based on the Sandy Hook shooting of 2012. Nor that Ms. Ireland plays a single mother whose son was killed on that day. That is where the predictable trail begins and ends. Where writer Martín Zimmerman and director by Leigh Silverman guide the story has a depth and stunning resonance that reaches way beyond the internal place you use as a boundary line between you and the world out there.
As the curtain comes down on The Vineyard’s production of Kid Victory by John Kander and Greg Pierce, you might be tempted to flip through your mental rolodex and count all the many musical genres that have been squeezed into this 1 hour and 45 minutes of non-stop action and some extremely beautiful music. Hymns, jazz, tap dance, ballads, snappy character tunes – and more. On the other hand, the lyrics, book and storyline – these elements are fragmented and elusive.
With Everybody, now in production at Signature Theatre, Brendan Jacobs-Jenkins has created another circuitous and intriguing route for us to follow. Like his previous plays, Octoroon, Appropriate and Gloria Jacobs-Jenkins takes no prisoners. You either keep up with the pace or you fall off the wagon train. One gets the feeling that Jacob-Jennings doesn’t care either way because his eye is locked onto the trail ahead.
Look, I don’t like “fun” per se. I know a lot of you do, but for the most part what other folks consider “fun” I find puzzling. Sitting outside getting third degree burns watching baseball. Hopping on a sail boat to sail to nowhere before you turn around and head back home. Strapping long narrow pieces of metal onto you feet and purposely going to the top of a snowy mountain so that you can figure out how to, well, slide down – and then do it over and over again. No. No thank you.
Also on my list of things I do not like is Audience Participation of any kind. Entertain me. Do not ask me to work for you.
I was, therefore, PLEASANTLY surprised to enjoy myself in the extreme….
By Tulis McCall Approximately 15 minutes into the first act of Ring Twice For Miranda, you realize that whatever it was you were waiting for – an event, a plot twist, or that moment when the play kicks off and says to you, “Follow me,” – THAT moment is nowhere in sight. It has not happened heretofore, and the sluggish pace of the play let’s you know that it ain’t gonna appear in the next two hours. The play is described as a...
Characters fly back and forth like so many badminton shuttlecocks. Plot takes second place to action. Belief is surrendered at the door, and all we have to do is follow along.
Sometimes I think of August Wilson as a composer. The text of his plays comes through as music. Sometimes it is not what people are saying, it is the melody they are creating with their lives.
Blueprints Specials – Soldier Musicals has closed and that is a damn shame.
There are times when theatre comes along in her far flung finery and whisks you off on a journey before you have time to check your dance card. Such was the case when I sat in the audience for this production the other night.
The only reason to see this play is the duo of Cate Blanchett and Richard Roxburgh. And this is one mighty reason. Watching these two is witnessing a pas de deux of mighty proportions.
I am almost tired of seeing Marilyn Maye. How much excellence, clarity and inspiration can one gal take? As it turns out – a lot. A whole lot.
The good news is that this show is ANYTHING but morbid. The bad news is that it was just one night at Pangea.
Can be found right here – enjoy and thanks for your...
After seeing Sandra Bernhard at Joe’s Pub, you can’t help but be reflective. I waled out wondering – what is so appealing about about watching an icon? There is a familiarity of course. But is it who they are or who they know? After all, it is only 2 degrees of separation. Sandra Bernhard knew Sue Mengers, (recently portrayed by Bette Midler in ‘ll East you Last) the infamous Hollywood agent, and Mengers knew everyone. So by watching Bernhard are we actually connected to Barbra Streisand?
BEGINS PERFORMANCES AT BROADWAY’S STUDIO 54 ON MARCH 4 “America needs SWEAT. We’ve been thrilled by the voracious appetite that audiences at The Public have had for Lynn Nottage’s masterpiece, and are thrilled that it will continue its life on Broadway. No piece I know captures in such brilliant and absorbing particulars the drama and fury of Americans who feel left behind in our new economy. We need to listen to...