The Rolling Stone

Posted by Margret Echeverria | Jul 18, 2019 | Reviews

The Rolling Stone

Score 95%

Ato Blankson-Wood and Robert Gilbert in The Rolling Stone by Chris Urch. Photo by Jeremy Daniel

Score 95%

By Margret Echeverria

Remember how you felt watching The Crucible or, maybe even more intensely, The Children’s Hour? Yes, the story is heavy, but we are willingly riveted. One can feel such euphoria when the theatre gods come together making a perfect storm of writing, character development and direction. THE ROLLING STONE punches that button in the brain that wakes such a tempest, pushes my body forward in my seat and finds me committed to see how this all turns out. Intermission is excruciating; I want my friends back and I really want them to be okay.

Read the full review HERE

THE ROLLING STONE by Chris Urch; directed by Saheem Ali

WITH Ato Blankson-Wood (Dembe), Latoya Edwards (Wummie), Robert Gilbert (Sam), James Udom (Joe), Myra Lucretia Taylor (Mama) and Adenike Thomas (Naome)

Sets by Arnulfo Maldonado, costumes by Dede Ayite, lighting by Japhy Weideman, and original music and sound by Justin Ellington.

Through August 25th at Lincoln Center Theater at the Mitzi E. Newhouse 150 East 65th Street. Running time: 1 hour and 55 minutes with one intermission. Call for tickets 212 239 6200 or click for Tickets here

Review

95%

Summary Taylor, to this recovering Baptist, is terrifyingly real in her treachery cleverly disguised as agape love. She scratches at long-healed scars in my belly and perhaps those of several other audience members who actually moan in pain from time to time. During intermission, an usher asks a specific seated section to keep it down so as not to distract the actors.

The Rolling Stone

95%

About The Author

Margret Echeverria

In the summer of 1978, while watching a performance of A Murder is Announced on the London stage, Margret fell in love with the theatre. Born and raised in Cedar Falls, Iowa, Margret came to New York City in 1994. She was admitted to Newmyn’s Nose Limitless Theatre Limited, an innovative and award winning improvisational company, in the summer of 1995 and eventually became a member of the company’s board. Margret starred in the critically acclaimed short film Jigsaw Venus by Dean Capsalis in 2000 (Best Actress, Buenos Aires International Independent Film Festival) and her film career was begun. She played the adorable Fag Hag (GenX does not find this term offensive at all), Audrey, in both A Four Letter Word (2007) as well as Violet Tendencies (2010), films by Casper Andreas and Jesse Archer. She has a co-starring role in Max Emerson's film, Hooked. Always sentimental about performing for a live audience, Margret penned and performed Orangerie, a one-woman show exploring the subject of finding love while traveling non-traditional avenues, which premiered at the Bowery Poetry Club in November of 2005 and ran through the spring of 2006 to critical acclaim. After Margret’s family survived the death of their son, Gavin, to SIDS in 2011, she penned her last one woman show, Finding Gavin, which premiered in New York City in 2015. Margret has appeared in sketch comedy scenes as Nurse Margret in P. Diddy’s television series, Making the Band; she says Puffy is a marvelous partner in improvisational comedy. She was on the season finale of Law & Order SVU in 2021. Margret studied Acting at Regent’s College in London, Classical Voice and Opera at the Royal Academy of Music in London, and Acting at Sally Johnson Studio here in New York City. She has a BFA in Acting from Rockford University. Margret is also a published poet. She lives in Yonkers, NY with her daughter, Alyson.

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