Christopher Metzger

Little Gem

August 2, 2019

Ms. Murphy’s writing is a rich amalgam of biographical data, pivotal incidents and humane observations. The monologue structure has the three characters alternately expressing themselves in the same recurring order with often all three on stage but not interacting with each other. Through this theatrical device, Murphy enacts her eventful scenario. At 100 minutes without an intermission, it does lag, particularly the introductory portions which too leisurely introduce the characters. However, Murphy does create three zesty roles. [more]

Life Sucks

March 29, 2019

“Did you know that this play is called "Life Sucks"?” says a character in playwright Aaron Posner’s meta-theatrical Life Sucks. It’s a wild yet emotionally resonant work “sort of adapted from Uncle Vanya by Anton Chekhov.” Characters address the audience directly, they engage in sly wordplay, lollipops are consumed, overlapping dialogue is common and absurdism abounds in this free-form yet faithful treatment. [more]

Happy Birthday, Wanda June

April 13, 2018

War, guns, Vietnam, the excesses of capitalism, toxic masculinity, blind American patriotism and feminism are among the targets of Mr. Vonnegut’s characteristically overloaded satire. Such concerns treated in a mannered fashion were all fodder for his popular novels but for the stage it’s problematic. [more]

DannyKrisDonnaVeronica

January 16, 2017

In "DannyKrisDonnaVeronica," playwright Lawrence Dial bitingly delves into the lives of two Brooklyn couples each with two small children. Through his precise, often humorous and realistic dialogue, Mr. Dial has his very well-drawn characters who all in their mid 30’s eloquently express their conflicted feelings and despair. Short on actual plot, the play is rich in incident and is a wistful character study. [more]

The Healing

June 28, 2016

Samuel D. Hunter’s latest play, "The Healing," is a commission by Theater Breaking Through Barriers, dedicated to advancing the work of performers with disabilities. Not surprisingly, the play gives roles to six disabled actors out of the seven characters in the play, and they acquit themselves well. This story of a reunion of childhood friends in their thirties who have gathered for the funeral of one of their members is made very real by the acting of the cast. The problem with the play is that it appears so tentative and low-key that the explosion we keep waiting for never happens. Under the direction of Stella Powell-Jones, the healing of the title is so subtle that the play could be said to be anti-theatrical. [more]