There’s nothing wrong with The Traveling Lady but there is little bite to it, little memorable about it, nothing surprising to take away. If you like Horton Foote, you will probably like this one.
The one-act play has long been a favorite form of both novice and seasoned playwrights. Tennessee Williams wrote 43 of them over the course of his 50 year career. Begun in 1977, this season is Ensemble Studio Theatre’s 36th Marathon of One-Act Plays. This year’s 15 selections are broken up into 3 evenings of 5 plays each, that are running in repertory from May 14th through June 30th. Reviews of Series A can be found here, and Series B can be found here.
With a thin script by early career playwright Isla van Tricht, this year’s Brits Off Broadway festival concludes not with a bang, but with two whiners.
A grieving father and husband, Nikolai Koslov (Declan Conlon), is having a hard time letting go of his rage. After his wife and two children lose their lives in a plane crash, his main concern is for those who survived. Was it an accident? A terrorist act? Who is responsible? And, most of all, who will be punished?
This is a talented group of performers and musicians. In addition, there was a ton of effort put into this production – just the special effects and sound alone are impressive. And you can feel the enthusiasm among the cast and crew. Everyone is giving it everything they have. Still, the level of storytelling only achieves that of a college spoof.
In a dimly lit basement speakeasy in Williamsburg, you can walk back in time as you join the fictional Poe Society in their attempt to unravel the mystery of Edgar Allan Poe’s death. Fortified by a delicious cocktail and tasty nosh, you can sit back and enjoy the scary.
Here’s the thing, if you hanker for an edgy, “out there” hour in the Village, this bizarre little Trumpian gag-fest ( andI do mean gag) is your show!
Sweeney Todd is as good as a musical gets, as good as theater gets, and a great reminder that, no matter how tempting, meeting injustice with wanton revenge will rarely give lasting satisfaction.
“Invincible” the kind of production that drives me around the bend. Here are actors working so very hard and doing fine work, but the are impeded by an inadequate script and unimaginative direction. It’s like watching an athlete run up the down escalator over and over again.
Because of Bank of America and Delta withdrawing their financial support, this production will be getting way more attention than it deserves. Not that it is a bad production. It is a ho-hum production that has so many wink-wink elements stuffed into it that it becomes unbalanced. The concept of making this a contemporary setting started out as one thing and them morphed into a being all its own.
Bella is billed as a Western musical adventure. Ms. Childs sets out to turn a modern day woman she glimpsed on the street (and how all the men who were passing by reacted to her), into her heroine, a big booty Tupelo gal named Bella (Ashley D. Kelley). And in a tradition as old as America itself, attempts to tell the forgotten tales of the haunted and the hunted, and all those who came from far off lands to build, populate and protect this country’s frontiers.
By Tulis McCall Well now. Haven’t I been having a run of good times around town at cabaret watering holes?? With this writing I add Amanda McBroom to my list of extraordinary events. McBroom (you HAVE to love that name. HAVE TO.) was toasted recently by Barbara Bleier and Austin Pendleton in “Beautiful Mistake”. So suddenly I am familiar with a living (and legendary) composer. Imagine that! Last Monday, June 5th,...
Playwright Chisa Hutchinson’s thing is exposing murky corners to the light of day. She does it with compassion and insight, but also with also with a firm finger on her funny bone. In her current show, Somebody’s Daughter, at the McGinn/Cazale Theater, I suspect the wise-cracking character of the guidance counselor Kate Wu (Jeena Yi) is somewhat autobiographical. Her boyfriend Reggie Ward (Rodney Richardson) says to her, near the end of the play as she’s standing in front of him crying and trying to crack a joke, “you only joke about things that matter.”
Inspired by the format in which Tennessee Williams and Eugene O’Neill honed their craft, EST has held annual short-play marathons since 1977, breaking new ground by putting new and established writers together on the stage.
The production is a jeweled symbiosis of playwright Martyna Majok’s unique script, Jo Bonney’s spot on direction, Wilson Chin’s tone setting design, and four actors so real that you forget you are watching a fictional stage play.
Clare Lizzimore is betting that the audience will buy in to 90 minutes of analysis and hallucination before learning what has gotten her heroine here in the first place. And thanks to a talented cast, crisp direction and some poetic touches by the playwright, the gambit mostly pays off.
Whether or not a play is based on facts is none of anyone’s business. As a matter of fact, it is often the last nail in the coffin, because “it happened like this” usually triumphs over plot and story lines. In this case we did not fare too badly. It is not great theatre, but it does stick with you.
The delight of most Ludlam plays is to take the structure of classical text and add layers of parody, camp performance, and fun. The Artificial Jungle succeeds on all these levels.
Let’s rip the bandaid off this puppy quickly and get it over with. Mary V, currently playing at Theater for the New City, is only worth seeing as a cautionary tale. For students of the theater, you can often learn more from something that doesn’t work than from something that is seamless. This is one of those. Fair enough, it is playwright Rebekah Carrow’s first play and rarely are masterpieces created first time out of the gate. In fact, David Mamet says in his online masterclass on dramatic writing, (www.masterclass.com) that if you want to write, you have to be willing to fail.
There are two delicious reasons to see Red Bull’s The Government Inspector. The first is Michael Urie (no surprise there) and the second is Arnie Burton, who should be employed everywhere.