Christopher Vergara

Franklinland

October 22, 2024

Lloyd Suh writes quirky historical plays from a unique perspective as ironic comedies. In "Franklinland," the latest entry in the EST/Sloan Project, commissioning and developing plays about science and scientists, Suh creates a Benjamin Franklin like you have never seen him depicted before. Unlike Howard Da Silva’s iconic and benevolent Franklin in the now classic musical "1776," this Franklin is crotchety, irascible, arrogant and demanding. In the play’s six scenes covering 33 years, we see him in his fraught and contentious relationship with his illegitimate and only son William who though not a great mind or a scientific genius like his father goes on to do well for himself politically. [more]

you don’t have to do anything

February 15, 2024

"you don’t have to do anything" written by Ryan Drake is a story that explores a gay man’s coming of age from the time he was in seventh grade until graduating from college. It is set in the period when cell phone and computer messaging were becoming more prevalent. The central theme of the production is the psycho-social impact of homosexuality from a young man’s adolescence into his early twenties. Ryan Dobrin's direction is effective, given the nuanced presentation of the central theme with dialogue that suggests misinterpretation of events and misunderstandings of emotional content. [more]

Shadows: A Dance Musical

December 4, 2018

The flier for "Shadows," subtitled "A Dance Musical," calls it “a Gothic ghost love story,” adding, “It’s Twyla Tharp meets Stephen King.” If only. "Shadows," written by Randall David Cook (book) and Edison Woods, Maxim Moston and Karen Biskho (music and lyrics) and choreographed and directed by Joey McKneely, does tell a love story and does have a good deal of dancing, but the eerie romance doesn’t rise to the complex Gothic levels of Stephen King and the choreography is far less creative than Twyla Tharp’s. [more]

What Do Critics Know?

July 27, 2015

Featuring catchy tunes such as “Breakthrough” and “Talk to Tony” as well as inspiring ballads such as “The Life I Was Meant to Live,” "What Do Critics Know?" went beyond the criticism and pressure of the industry to uncover dreams that were once put to rest. The music and lyrics by James Campodonico and bookwriter Gurren were uplifting, powerful and beautifully performed and the lovely voices of Mossberg’s Irma and rising star Dahlia (Sarah Stevens) really brought the heart of the production home. [more]

Texas in Paris

February 13, 2015

While Alan Govenar’s "Texas in Paris" is not a musical in the traditional sense, it is definitely a concert in the literal sense. It is also an engrossing and subtle play about race relations and the misunderstandings that separate people. Under the restrained and assured direction by Akin Babatundé, the performances by Lillias White and Scott Wakefield are poignant and authentic. [more]