News Ticker

Plays

Mindplay

January 21, 2025

When the audience enters the theater, they are asked to fill out a slip of paper with one word that has been on their mind. Part of the show is made up of audience participation and these slips of paper come into play. Another part of the show written by DePonto and Josh Koenigsberg recounts DePonto’s life with mentalism, his childhood, his memories, his studies and his discoveries about the mind. He begins by discussing the “memory palace,” the way in which the mind catalogs our memories. The remarkable set by Sibyl Wickersheimer which is revealed when a curtain is opened is a wall of 146 lockers which resemble the way the mind works. DePonto opens some of these and removes items while some of the lockers seem to have a mind of their own and open without his doing anything. [more]

300 Paintings

January 20, 2025

Not only are the paintings massive but they also cover all sorts of modern periods of art without Kissajukian having known their work (abstract work by Picasso, Matisse, Joan Miró, Jackson Pollock, Franz Kline, Basquiat, etc.) After the show the audience is invited to experience his recent art work on display in four galleries in the theater while he remains available to answer questions. Not only are the paintings a kind of therapy for him, he also titles them with witty names and explanations, often having little to do with actual images. [more]

January

January 19, 2025

"January" presents a story about the emotional impact of the killing of one child by another by weaving together the thoughts and actions of the two single mothers involved and how the national media treats the event. There are scenes blending memories and dreams with reality, presenting the protagonists' thoughts as if they existed in real-life moments with an almost hallucinogenic quality. These dramatic devices work most of the time. Still, there is a critical point in the play where what is being presented goes on for too long, almost to the point of losing the story thread. The projections used are effective but sometimes come very close to being propagandistic. Even with some of the unevenness of the production, it does present an important story that needs to be told. "January" is a heavy lift emotionally but ultimately worth the effort. [more]

Dead as a Dodo

January 18, 2025

While they credit the eight puppeteers textually, “with help from the ensemble,” Warnock and Waage are also credited as executive producers along with set and costume design. Mr. Waage is given solo credit for the sublime puppet design and construction. All in all, the parts make for a rather resplendent whole. Starting with the puppeteers dressed in sparkly black fabric that bring a deserved attention to the constant manipulation of the puppets and a set that constantly morphs between scenes. The initial “lights-up” has a large chunk of sparkly “glitter basalt” that dissolves into the individual puppeteers. The look is reminiscent of Adrian’s classic sequined pantsuits for Judy Garland in concert. Kudos to lighting designer Daphne Agosin for capturing every sparkle in those costumes as well as to the projection designer Erato Tzavara for creating surreal space within the confines of the Baruch’s venue. Thor Gunnar Thorvaldsson’s original music and sound design underscore the fantastical display on stage. [more]

The 7th Voyage of Egon Tichy [redux]

January 12, 2025

The fun is in the technological achievement of the piece, which is impressive. Gelb performs center stage while his image is broadcast to screens on either side of the theatre. What happens on those screens is extraordinary – Gelb, as Tichy, interacts with himself flawlessly in perfectly choreographed scenes. You kind of feel like you're on a ship roaming the space-ways. The screens make things feel cramped, in a good way, and it's surprisingly believable when a wrench floats in outer space. [more]

My Mother’s Funeral: The Show

January 10, 2025

Charlotte Bennett directs an exquisite cast of three in an exploration of these themes. Nicole Sawyerr solidly leads the ensemble in the lead role of Abigail Waller, a working-class playwright. Sawyerr is supported by Samuel Armfield, who perfectly embodies two characters: an unnamed theatrical director with a class-based condescending attitude and Darren, Abigail's brother. The third member, Debra Baker, skillfully takes on a number of other characters, the two most important of which are Abigail's mother and an actress portraying the character of a mother in a play written by Abigail. Baker gives distinctly different presentations of these two pivotal characters. She also takes on a number of other ancillary characters who voice supporting elements to the overall story. [more]

Cult of Love

December 26, 2024

Must you love your immediate family unconditionally if you know they drive you crazy? And must you show up for family gatherings like Christmas if it always evolves into a vicious fighting match? Is love nothing more than propinquity, that is biological closeness? Leslye Headland’s "Cult of Love" produced by Second Stage at Broadway’s Helen Hayes Theater, a searing comedy-drama, reminds us that most American plays other than Our Town are about dysfunctional families that make various levels of accommodation to their problems. The cast led by Zachary Quinto, Mare Winningham and David Rasche are consummately believable as a family who has seen too many Christmases devolve into shouting matches. [more]

Bashevis’s Demons: 3 Tales by Isaac Bashevis Singer

December 25, 2024

Typical of Singer stories about 19th century Polish Jewry, these three dramatizations combine Jewish mysticism and demonology with Baker as the narrator of two of the stories while also playing the demons in both (“The Mirror” and “The Last Demon.”) The third story published in English as “Cockadoodledoo” but here renamed “Thus Spake the Rooster” is performed by Seigel in two parts as the title character who seems to have supernatural powers. The evening is both directed and designed by Moshe Yassur and Beate Hein Bennett, both of whom worked on the Yiddish versions of Waiting for Godot and Death of a Salesman seen in New York under the auspices of The New Yiddish Rep. [more]

A Shift of Opinion

December 23, 2024

There are a number of problems with these vignettes, ranging from the individual characterizations of the men involved to the superficial nature of the historical details of the events being discussed. Sheppard overacts in portraying O. Henry as a barely coherent alcoholic. It is not credible that a person as "drunk" as O. Henry would be engaged in any serious discussion with the likes of Mark Twain and William Hearst, let alone Teddy Roosevelt or even Schiff. The performances don’t engage the viewer to care about who the character is and what he has to say. In a number of the scenes, the dialogue seems contrived to present a particular socio-political viewpoint without any explication or depth. [more]

Mrs. Stern Wanders the Prussian State Library

December 23, 2024

Jenny Lyn Bader’s "Mrs. Stern Wanders the Prussian State Library" has moved from a successful run at the 59E59 Theater to the intimate WP Theater on the Upper West Side. This is fortunate for those who missed it. Mrs. Stern shines a light on a dark moment in the life of a major cultural figure of the twentieth century whose career was nearly short circuited. [more]

True Love Forever

December 22, 2024

Girelli’s lyrics provide wonderful support to Willett’s choreography. A motif for the song “Valentine” has the dancers in tango movements covering their hearts with their palms. The playfulness of musical chairs takes over another song where chairs are left empty so prospective partners can sit in each other’s laps. The song “Tonight You’re Mine” provides for a very athletic, relentlessly physical duet danced by Marissa Nielsen-Pincus and the bare-chested Ryan Wuestewald. A passionate duet for Devika Chandnani and Noah LaPook is performed to “King of Tears,” a song that confronts the deep emotional pain from heartbreak, emotional vulnerability, and personal struggle to recover from a relationship that has ended. [more]

Eureka Day

December 18, 2024

It's the play's best scene, an astounding mix of incredible absurdity and, for all the  Zoom veterans out there, undeniable believability, especially with everyone talking and typing past each other. Still, while serving the play's humor, director Anna D. Shapiro must simultaneously contend with its overt underside, sick children, as well as a modern audience replete with the traumatic knowledge that, after the 2018-2019 school year, the worst is yet to come. Given that, it's an outright testament to the impressive comedic talents of Shapiro, Spector, and the play's ensemble that the subject matter of "Eureka Day" can remain a laughing matter. [more]

A Guide for the Homesick

December 17, 2024

Director Shira Milikowsky keeps increasing the tension as the 85-minute play peels away revelation after revelation. Each man has a guilty secret and may have betrayed a friend which is eating him up. Although there are never more than two men on Lawrence Moten III’s pitch perfect set for the rather shabby blue and white hotel room which suggests a dorm, we eventually witness and learn about two other stories that they are both stewing over: what happened between Teddy and Ed before Ed stormed out and Jeremy’s encounter in Uganda with Nicholas, a gay man in need of more than medical help. [more]

Pen Pals

December 14, 2024

Director SuzAnne Barabas takes a muted approach, choosing to emphasize the intimacy of the narrative. Mags and Bernie are the only two characters in the play, and both are on stage nearly the entire time. There is little in the way of action, as the 80-minute runtime consists almost entirely of Mags and Bernie reading the letters they send to each other. Day and McKeon spend long periods sitting down and reading their letters out loud, and set designer Jessica Parks arranges the stage as two living rooms, separated by an invisible barrier that neither can cross. Maintaining the physical distance between the characters, the set and directing evoke the feeling of being in both living rooms at once, listening to Bernie and Mags casually read their letters out loud before mailing them. [more]

Racecar Racecar Racecar

December 14, 2024

Sarah Blush directs a cast of five in the story of a father and daughter on a road trip from New York City to a storage unit in California. It is a trip that is both se in the present and past, and it is filled with a flow of information that mixes reality with fantasy in a liminal space between sanity and insanity. This story operates from a different dimension the moment one walks into the performance space. The set is a large orange square, shag-carpeted pit with no clues as to the staging. The two principal characters making this trip by car never sit as if they are in a car but casually walk the raised outside edge of the box. It is an element of this stagecraft that adds beautifully to the edginess of the production. [more]

Duality

December 11, 2024

If one did not read Laura’s extensive program notes in the Playbill given out at the Jeffrey and Paula Gural Theatre at the A.R.T./New York Theatres, it would not be until three quarters of the way through that the play’s real theme becomes clear. In addition, the family tree is so complicated that the script uses two pages and lists almost as many off-stage characters as appear in the play. Of course, this is not available to audience members or to critics before they see the production. [more]

This Is My Favorite Song

December 6, 2024

Walking into the Peter Sharp Theater we have no hint of what is behind what look like opaque vinyl shower curtains from one end of the stage to the other. Within moments of her appearance, decked out in a black suit and tie like the kid who hates to dress up to go to Grandma’s for Sunday dinner, we know Francesca D’Uva just doesn’t want to be here. At the end of 80 minutes, we are so glad she came. She breaks the ice by letting us know how sensitive she is to mouth sounds telling us about a high school teacher who smiled so hard you could hear it. On the count of three, we all try to copy the smile noise.  “I love bringing people together like that. That will be the only piece of crowd work I do tonight. So hope you enjoyed it. You’re done.” [more]

Tender Napalm

December 3, 2024

"Tender Napalm" is a poetic play that doesn't so much tell a story as it does evoke feelings. What is love? What are relationships between men and women really about? Set (sort of) on a desert island, the play contains powerful language memorably brought to life by Ahlers (Man) and Pedretti (Woman). Both actors are young up and comers and it's a pleasure to see them in the intimate TheaterLab space. With seating on both sides and staging that takes full advantage of the intimacy of the room, there isn't a bad seat in the house. [more]

Give Me Carmelita Tropicana!

December 3, 2024

The success of this play and our ability to navigate the ride relies heavily on the flawless cast led by Troyano herself. She shepherds us through every turn of the script and we willingly follow her everywhere she takes us. One of the standout moments is when Branden is whisked away to the Havana nightclub El Pescadito in Phantasmagoria. Alina as Carmelita entertains at the piano dressed as Bola de Nieve, a legendary Afro-Cuban cabaret artist. “Bola” performs a song “Messie Julian” containing lyrics “Yo soy negro social, soy intellectual, y chic” with modified references to Branden. When he asks what the song is about, Carmelita reveals herself to be half-bear ready to attack him. [more]

The Blood Quilt

December 2, 2024

Katori Halls’ "The Blood Quilt" is fine as a family drama about warring sisters who both love and resent the mother who has just died. However, as a story of secrets and revelations it takes a little too long to get where it is going. It could use more incidents and exposés to warrant its length which seems padded. Don’t blame the fine actresses who seem to be living their several roles. [more]

The Merchant of Venice (Arlekin Players Theatre)

November 30, 2024

There is much rewriting and updating plus uncalled for interpolation like speeches from 'Romeo and Juliet" for Jessica and one of Shakespeare’s sonnets (“My Mistress’ eyes are nothing like the sun") as a rap for Lorenzo added to Act V, Scene 1. The play begins with T.R. Knight on mike as the host of “The Antonio Show” and then he sits behind a desk as the merchant of Venice, and interviews his friend Bassanio seated on a sofa as though this was The Tonight Show. With only eight actors, there are not enough to play all of the parts despite doubling, so that Antonio uses two red hand puppets to stand in for his colleagues Salarino and Salanio. [more]

Strategic Love Play

November 24, 2024

How can you make a new play about a couple on a blind date in a bar interesting for today’s jaded audience? In "Strategic Love Play," British playwright Miriam Battye makes them play games as well as dislike each other as soon as they meet. Under Katie Posner’s direction Heléne Yorke ("The Other Two," "Masters of Sex") and Michael Zegen ("The Penguin," "The Marvelous Mrs. Meisel") are able to keep up the startling interactions between them for the 90 minutes of the play. The play covers several arcs from dislike to interest to boredom to acceptance to disbelief. [more]

Woman on a Ledge

November 23, 2024

"Woman on a Ledge" is an adaptation by Hershey Felder of harpist Rita Costanzi’s writings about her life. Ms. Costanzi is a world-renowned harpist whose life experiences have been woven into a fascinating and highly engaging theater piece. As directed by Lissa Moira, this one-woman production beautifully integrates Ms. Costanzi’s superlative playing with her solid storytelling. One does not have to be a harpist or classical music fan to enjoy this production. Her storytelling alone is worth the time spent, and it becomes exceptional when coupled with her exquisite playing, used to underscore elements of her story. [more]

Babe

November 23, 2024

Arliss Howard and Marisa Tomei in a scene from The New Group’s production of Jessica Goldberg’s [more]

Okuni: The Woman Who Created Kabuki

November 23, 2024

Ako's portrayal of Izumo no Okuni combines traditional Japanese dance movements with Western-style acting. The nature of the script limits the impact of her performance. The dialogue is simplistic, verging on a museum presentation. The story being told is too small for someone who is such a large character in the folklore of Japan. It is a story that calls for a larger cast to show the impact her dance and performance style could have on audiences. Okuni certainly did not dance alone, so what needs to be added is the pageantry and bravado of a fully engaged dance ensemble. Ako also portrays Lady Yodo, the mistress of the late Toyotomi Hideyoshi, credited with the unification of Japan that led to the establishment of the Tokugawa shogunate. [more]

Oud Player on the Tel

November 18, 2024

Can the tale of two families living in Palestine just before the partition that created the State of Israel shine a light on the current status of affairs? Playwright Tom Block’s "Oud Player on the Tel" does just that with a combination of wit and empathy.  The play, currently at HERE Arts Center in SoHo, is part of HERE’s SubletSeries. [more]

King Lear (The Shed)

November 17, 2024

Firstly, the play has been shortened to two hours without any intermissions, when most recent productions have been three and a half hours with one intermission. This makes all of the events seem to take place too soon, one on top of the other, so that the sense of a world turned upside down is never felt in the production’s rush to the end. There is little sense of turning “the wheel of fortune” spoken of several times in the play. All the actors including the 63-year-old Branagh in the title role seem too young for their parts. While Lear describes himself as “a very foolish fond old man,” in fact, in this production he is a very vigorous and hearty leader, though capricious in his decisions. The supporting cast though excellent in their diction and authoritative in their roles seem lacking in technique to make the roles both interesting and their own. The low-key characterizations damage the play’s violence and viciousness. [more]

Mercutio Loves Romeo Loves Juliet Loves

November 16, 2024

Director Scott Ebersold works wonders with the double-edged sword of the audience knowing full well these performances are colored by the play taking place close to 20 years ago when girls this age didn’t have the benefit of understanding their gender identity as girls do in 2024. Social media and sexual education have made great strides in these decades yet we don’t for even a moment feel that Mr. Ebersold’s concept gives us a museum piece. Ebersold gets vibrant heartfelt performances from each of the three actresses. [more]

Café Utopia

November 15, 2024

"Café Utopia" by Gwen Kingston and directed by Ashley Olive Teague tells the tale of a juice bar that, on the surface, appears to be socially progressive, but behind the scenes, is a different story. Based on real stories from workers involved in the current efforts to unionize juice bars and coffee shops, this play lays bare the corporate behavior that puts profits before workers. During changes in some scenes, different characters read statements collected from workers about their work-related experiences. These moments are important in underscoring the overall content of the show as it relates to the plight of workers who lack union protection. [more]

Triptych

November 13, 2024

As long as you come to John Yearley’s "Triptych" with the understanding that grief is a deeply personal and complex emotion and that just because two people are married doesn’t mean they will experience a traumatic event exactly the same way, then you will understand the plight of Joe and Blanche. It goes without saying, although it’s always said, nothing is sadder than the loss of a child; the parent is “supposed to go first” and the children are expected to grow older and have children of their own but life and unexpected tragedies have a way of getting in the way. [more]

Walden

November 12, 2024

Nevertheless, the play is one of several interesting takes on climate change in the theater recently like "Deep History." As the play evolves we are more and more immersed in the problems of climate change that are now only distant possibilities. The actors are compelling but do not entirely inhabit their roles. Making her Off Broadway debut, Rossum, best known for her work in the Netflix's series "Shameless" and film version of "The Phantom of the Opera," is suitably conflicted as one who has given up her chosen career and taken the opposite path. Winters, known for her breakout role in the HBO series "Succession" as well as many major Off Broadway roles, is more controlled as the current astronaut who is confused by her sister’s current choices. However, both sisters are a little too similar to make them dramatic opposites. In the underwritten role of Bryan, Foster is quite appealing though he can’t fill in the gaps that are missing. [more]

Loneliness Was a Pandemic

November 12, 2024

Haller has created a world where robots have conquered all of humanity through the ability to copy, with precision, the technical aspects of a functional society. The lack of understanding of human artistic creation keeps them from destroying a particular element of human culture: creative artists. The missing element in the totality of their superior nature is the spark of artistic creation. It is an aspect of humans they do not fully understand. So, they keep alive those humans considered to be creative artists in an attempt to understand and replicate the human ability of singular artistic creation. [more]

Romeo+Juliet

November 11, 2024

This is another one of those cut down versions of Shakespeare with only ten actors in total. As result, seven of the ten actors double (one triples). The problem is that almost all of the actors have to appear in every scene to fill out the stage. It is also very difficult to know who is who with almost every actor (other than the two leads) playing more than one character, some in gender swaps. The Nurse played by (Ms.) Tommy Dorfman also plays Tybalt, while Mercutio, The Friar and the Prince are all played by actress Gabby Beans. [more]
1 2 3 … 64

Copyright Jack Quinn, 2001-2023