Josh Tyson

Crime and Punishment

January 22, 2024

Tyson’s portrayal of Raskolnikov is riveting as he moves through the elements leading inexorably to his mental collapse. The exchanges with Porfiry are woven together with encounters with the people in his life that had an impact on his present mental state. Each of these ancillary scenes are used to fill gaps in the storyline needed to clarify Raskolnikov’s mental state and the exchanges that take place with the inspector. Lenartz gives a first-rate performance not only of Porfiry, but of all the characters he inhabits. He transforms into each of these characters with small changes in costume and with his movement and speech. He makes each of the ancillary characters distinct. This same skill is evident in Stone’s portrayal of all the women in the story, with small changes in costume and physicality she becomes a new character. The only quibble I have is with her portrayal of the character Sonia. The age of the character is important in the story, and although Stone does not fit the part, it does not diminish the impact of the performance. [more]

American Moor

September 16, 2019

Cobb is titanic in this piece bringing his resonant voice and impressive physical presence to bear on the most famous classic role for a Black actor in the canon as well as his thoughts about race and the theater. His justifiable anger when the director tells an anecdote about a woman who drove across the country in diapers to confront her rival as an example of the effects of jealousy is enough to flay one alive. His analysis of the man Othello and his relationship to the white Venetians is a brilliant explication of both character and society. Cobb’s understandable problem with white directors who want to tell him how to play a Black man exposes race in America from a new point of view. American Moor may make you angry but it is always enlightening and right on target. Although Cobb’s passion gets the better of him, you will never feel that he has gone too far or misrepresented things as they are. [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]

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]

The Resistible Rise of Arturo Ui

October 24, 2016

British author Stephen Sharkey’s new translation is faithful to Brecht, but the Phoenix Theatre Ensemble has fashioned the presentation as an old-time radio show. Brecht was known for his self-conscious style of distancing and alienation, where the audience is made aware that they are watching a play but this additional device is a distraction and not as funny as intended. [more]