Author: Sarah Downs

Memoirs of Amorous Gentlemen

Memoirs of Amorous Gentlemen playing at The Night Egg at the Culture Club, promises a daring meditation on desire and sexual eccentricity, but it does not quite deliver.  The musical itself is loaded with drama and color, but everyone is trying so hard to Be Very Sexy it leans toward cringe. One way to guarantee that something will not be sexy is to tell you how sexy it’s going to be.  The production values are impeccable – drenched with color, texture and drama on every level.

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The Ask

The Ask, playing through November 22 at Theater 555, is ostensibly an “electrifying”  play about the role of money in politics, and contrasting attitudes thereto, even among people of the same political persuasion.  It is not.  I’m sorry, but I have to say I’m utterly confounded as to why this play was written.  It’s like a slow death.  There is no build, no conflict, no fight in which to have a dog.  The stakes aren’t just low; they are non-existent.

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Degenerates

Degenerates, by Else Went, is brilliant – devastatingly, stunningly, painfully brilliant.  Went takes male alienation and throws it in a blender. This is the kind of work that throws you back in your seat. She tackles the issue of male loneliness and ‘incel’ culture, in its myriad facets, its origin, it’s heirarchy, its lingo.  Through extensive interviews with young men caught in this world, she has developed a nuanced work of blistering intensity.  It is an impressive, mult-layered piece. The impeccable text and excellent cast make this profoundly moving play an absolute must-see.

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Arias with a Twist

Joey Arias and Basil Twist have returned to the stage on which they debuted this piece, two decades ago.  They were a downtown fixture when “downtown” was truly Downtown, and they remain a unique creative force; visionaries who have a clear sense of self.  When you lead, you don’t fall prey to fads.

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Suddenly Last Summer

Suddenly Last Summer a multi-media, operatic adaptation of the Tennessee Williams drama, currently running at the Fisher Center at Bard College, is something special.  This play is the perfect material for an opera.  Greed, sexual repression, decay, cannibalism, lobotomies – what’s not to love!?  Gideon Lester and Daniel Fish, who also directed the piece, have built on a framework of spoken text and music to create a performance that keeps you guessing as it builds toward its shocking climax.

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Picasso, Le Monstre Sacrė

In Picasso, Le Monstre Sacrė at LaMama Experimental Theatre, Peter Tate portrays one of the most brilliant and influential painters of the last century – the man, they myth, the monster – without saying anything memorable about art.  Instead, we get Picasso the horndog. Picasso defined modern art, yet Masterson and Tate never really dig into, for example, what made “Demoiselles d’Avignon” or “Guernica” so revolutionary, or why his collage work was so important; or how Cubism taught the human eye to look at the world differently. It’s a shame because the subject matter has endless promise.

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Othello

In the Othello in the West End Theatre’s small playing space, Bedlam is creating a whole world with a whisper of a set, a small lighting grid and a ton of imagination.  In the hands of innovative artists, restrictions don’t hamper, they inspire.  Four intrepid actors have taken on the extraordinary task of performing Shakespeare’s famous tragedy in full, playing all of the roles themselves, and they are hitting it out of the park.  Such is the skill of these actors, they shape shift between characters seamlessly, delivering the play’s operatic scale and human drama with fingertip immediacy.  Director Eric Tucker, who also portrays Iago, paces the work so it drives forward without feeling pushed, deftly herding the story’s many moving parts to build a fortress of jealousy and betrayal that is at once explosive and ice cold. Don’t miss it.

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Seagull: True Story

In Seagull:  True Story, currently playing at the Public Theater, writer Eli Rarey; and creator/director Alexander Molochnikov welcome us into the wild and wooly world of their imaginations, in a “Cabaret”-esque, autobiographical absurdity where art and life collide at lightning speed.  It goes from dog and pony show to fractured fairy tale, in a searingly nihilistic statement of ‘plus ça change.’  Seagull is mostly bedlam — and I kinda love it.

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Plan C

Despite an excellent, thoughtful set design, evocative music and clever plot conceit, PLAN C suffers from a lack of cohesion, perhaps due to the collective nature of its development. Too many cooks have been at this broth, to the extent that at times the actors don’t seem to be in the same play. I’m sorry to say this, because the performers are clearly committed to their work and passionate about the theory, but in practice the groupthink result feels clunky, making it a well-meaning, near miss for me. 

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Ulster American

Ulster American, by David Ireland, currently playing at the Irish Repertory Theater through May 10th is one of the best plays I have seen in years.  Topical, bitingly funny, and acted within an inch of its life Ulster American is what we dream of seeing at the theater.  Richly structured and verbally daring, the play is high farce with serious heft. Indeed this play has been so popular its run has been extended to May 24th!

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Just Desserts: A Musical Bake-Off

JUST DESSERTS: A Musical Bake-Off, now playing at AMT Theater, is just what the title suggests – a musical about a bake-off.  No not the Great British Bake-off – this one is hyper local. In a true bit of Americana, five contestants have gathered to compete for the baking crown at the Jefferson County Fair. I wish the writing matched the energy and pedigree of a lot of the cast, but alas it does not.  The music is repetitive and mostly uninteresting, despite orchestrations that include actual harmony and depth (egad!).  The book itself reads like pre-teen literature, a bit on the nose, and lacking any real tension.  I am sorry to say that, because we all know how much work goes into bringing an artistic vision to fruition. 

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Tartuffe

In Tartuffe at the New York Theater Workshop, Lucas Hnath is serving up satire in a colorful reinterpretation of an ever relevant tale of religious hyocrisy and human fallibility.  Told in verse peppered with modern vernacular, the play is nonetheless set in its original century, with beautiful period costumes and set.

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