Attilio Rigotti

Zoetrope

September 23, 2023

Clearly, "Zoetrope" often becomes difficult to follow for non-Spanish speakers. The dearth of realistic sets makes knowing which location is which confusing, despite the occasional descriptive titles. Then, the fact that most of the actors—all of whom are terrific—play several parts in a rapidly time-shifting plot makes figuring out who’s who and who is in a relationship with whom difficult to ascertain. Why is Puerto Rican independence glossed over? How does Claudio become a filmmaker? It’s the debut of his movie that ends "Zoetrope." [more]

Remnant

August 29, 2018

War, time and death are hauntingly explored in the eerie high-tech performance piece "Remnant," a company project by Theater Mitu. It’s based on interviews with a cross section of people that have been shaped into a swirling and absorbing event. The audience wears headsets as they experience the show while watching the actions taking place inside of three separate “boxes” named A, B and C. Original and previously composed songs including one by Kate Bush are performed to great effect, as are electronic melodies. [more]

Judas

May 1, 2018

With a contemporary sensibility, Mr. Patrick dramatizes the familiar situations with simplicity, lively dialogue and tasteful irreverence. There is also excessive philosophical speechifying during some long-winded debates but these static Shavian bits are offset by the superior production and strong performances. [more]

The Cult Play

February 6, 2018

Mr. Cusumano has crafted a scenario that though familiar is gripping. The timeless craving for lost souls seeking a purpose in life by handing over their existence to charlatans is freshly explored here. The dialogue is well-observed, sharp and occasionally very funny. The play is peopled by a collection of characters who are all identifiable and have finely drawn back stories. [more]

Tartuffe

November 1, 2017

Complementing his gorgeous stage pictures, director Craig Smith’s vibrant staging has the actors in constant motion on the small playing area. The cast precisely paces, dashes and undulates, achieving a propelling pace and focus. Chanting monks roaming through the audience is an eerie highlight. Slapstick, high comedy, bawdiness and dramatic truth are all vividly rendered by Mr. Smith’s superior sense of stagecraft. [more]