Sea Wall/A Life
Theater is a collaborative art. Unlike writing or painting, you can’t do it alone. The reason why “Sea Wall/A Life” moved from The Public Theater Off Broadway to The Hudson Theater on Broadway recently is that Tom Sturridge and Jake Gyllenhaal discovered something they hadn’t realized while performing at The Public. This production of “Sea Wall/A Life” turns out to be a collaboration between the performers and the audience. Sensitive direction by Carrie Cracknell has obliterated the fourth wall and created a space where memories can be shared with safety and acceptance.
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Bat Out of Hell – The Musical
Just when you thought that the sanitary jukebox musical had supplanted the messy rock opera, along comes Bat Out of Hell to set things right.
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Michael Feinstein, I Happen to Like New York
Michael Feinstein is cabaret’s answer to the fountain of youth – eternally boyish, eternally charming, totally irresistible. “I Happen to Like New York” is pure fun not to be missed.
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Topdog/Underdog
By Vicki Weisfeld The final production of the 2019 season at Princeton Summer Theater is...
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Rinse, Repeat
The topic here is one no one wants to talk about because it is elusive: eating disorders. In this case it is anorexia. Domenica Feraud takes the topic in hand and eventually sweeps us into the confusion and bewilderment that traps people afflicted with this disorder. That she takes so long to let the pendulum swing full circle causes this piece to miss the goal by centimeters.
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Summer Shorts 2019 – Series B
By Tulis McCall This year’s crop of Summer Shorts is a ho-hum, hum drum sort of an evening....
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Sea Level Rise: A Dystopian Comedy
Sea Level Rise attempts to bring the subject of climate change to a wider audience in a clunky, poorly written comedy which unwittingly reaches the height of absurdity in this incomprehensible production. A true Theatre of the Absurd treatment would actually be perfect for this subject. Maybe someone will write it.
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LOVE, NOЁL The Songs and Letters of Noёl Coward
The prolific dandy Noёl Coward was dubbed The Master, though as Coward himself says, he was more a “jack of all trades than a master of one.” We enter the intimate space of the W. Scott McLucas Studio at the Irish Repertory Theatre to James Morgan’s elegant royal blue stage design and, LOVE, NOЁL The Songs and Letters of Noёl Coward, has begun. The focal point of the salon like set is a bust of this modern man, from a different century, holding court upstage as expressionless as he was in real life.
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