“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.
One of the reasons that I love the theater is that it often affords me the opportunity to immerse myself in a world I might not otherwise get to experience. In a very present and visceral way. It can be an uplifting or a disturbing occurrence, but widening my world view is always good. The Abingdon Theatre Company’s The Boy Who Danced On Air, the new musical with book and lyrics by Charlie Sohne and music by Tim Rosser, is a perfect case in point.
“Locker room talk” doesn’t even begin to describe the dialogue in the play’s beginning scene, which might nevertheless make you smile through very gritted teeth. It’s as broad as humor gets, and it makes for rather juvenile comedy.
These songs, as delivered to perfection by Sullivan, are jewels. She closes her evening with Your Face, Your Smiles, which Sullivan heard first at David Ackles memorial service and was was the first song she recorded. It is s song that bypasses the head and dives directly into your heart. You are defenseless. Which is kind of the idea.
Ms. Antonia Bennett, daughter of legendary singer Tony Bennett, made her Café Carlyle debut last night to a packed room, one that, she informed us, included “many familiar faces.”
A tale of bad romance and questionable financial planning is set in a dead woman’s house on Halloween, but the playwright is not so much concerned with physical threats as she is with intellectual and socioeconomic ones.
A moving, strongly acted and directed production of Shakespeare’s remarkably timely play about the dangers of prejudice and greed.
The most compelling element of this double header is the concept. Mfoniso Udofia is telling the story of a slice of the Nigerian Diaspora as it unfolded, beginning with the late 1970’s. This is a rich territory to mine because it is pretty much untouched.