Minetta Lane Theatre

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]

Dead Outlaw

April 1, 2024

Conceived by Yazbek, the show is structured as a folksy retelling of the haplessly heinous Elmer McCurdy's life and post-life story, with the unbelievably true and undeniably dead portion reaching its final chapter after a prop person discovered Elmer's mummified corpse in 1976 on the set of "The Six Million Dollar Man." Unfortunately, Yazbek's collaborators from the Tony-winning "The Band's Visit"--book writer Itamar Moses and director David Cromer--are decidedly second fiddles this time around, adding little to the proceedings to make "Dead Outlaw" notable as anything other than a pretty solid concept album, especially as performed by an indefatigable combo that includes Della Penna belting out some of his own lyrics and strumming multiple instruments. [more]

Swing State

September 24, 2023

Gilman's triteness and predictability combine to poorly serve a talented acting quartet, all of whom originated their roles in a 2022 production of "Swing State" at the Goodman Theatre under the usually steady hand of that institution's former Artistic Director Robert Falls, a Chicago legend. For whatever reason, Falls has kept his directing duties for the Off-Broadway run, too (a nice dinner at Minetta Tavern perhaps?). But it was a wasted trip for everyone, likely motivated by tragic topicality, the reputation of a world-class theater company, and a local sense of obligation to peek outside the New York bubble. [more]

Sorry for Your Loss

May 23, 2023

As directed by the astute Josh Sharp, Kayne begins his show as a stand-up act, but warns us “This is a comedy show. BUT it is also sad. There will be long stretches where you will not be laughing. I don’t want to feel like I tricked you, so I’m telling you in advance.” However, Kayne is able to find the absurdity in things that are inherently sad so that there is much humor in his one-man show. After his stand-up comedy routine, he gives a short math lesson using a white board and a black board (set design by Brett Banakis) to demonstrate that things are often not what they seem. [more]

Drinking in America

March 26, 2023

Some critics would say Eric Bogosian’s "Drinking in America" is dated, but that’s very much up for argument. The script given to critics for the new production at the Minetta Lane Theatre is marked “Tweaked Drinking In America Script For Audible,” all in caps actually. In all fairness, some of the “current references” particularly with regard to in-demand actor names bandied about in the scene entitled “Wired” are names clearly from another age. That could have easily been “tweaked,” if they really wanted to do that. References to Quaaludes in the scene “Our Gang” reek of history rather than current usage, but then again, is there an easy 2023 replacement for Quaaludes, a drug that was taken off the market around the time the play was first produced? Aside from those references, the twelve scenes that comprise the play remain shockingly topical for our era. [more]

Lucy

February 14, 2023

Writer/director Erica Schmidt's "Lucy" is a play struggling to find a point of view, or perhaps a point of view struggling to find a play. If the latter is true, then that narrative position seems to be "good help is hard to find," which generally only satisfies an audience, at least the "help" part of it, when there's a "My Man Godfrey," or even "Mary Poppins," spin attached. But Schmidt apparently has adopted her position sincerely, with some topical digressions into issues like healthcare coverage and paid sick leave. Or maybe Lucy is just an exceptionally slippery satire, and I failed to grasp its profundity while wondering why the play had to last more than one scene. [more]

Long Day’s Journey into Night

February 7, 2022

But, again, O'Hara does these actors no favors, forcing them to contend with incongruous historical information while also depriving them of the greatest acting benefit O'Neill's four-act play affords: time. The characters' drawn-out, if not periodically downright tedious, interactions are fundamental to establishing the family dynamic and, more importantly, necessary for giving the work it's much-needed oppressive weight. It's nice that O'Hara wants to spare us from that suffering, but it doesn't help the play. [more]

The Half-Life of Marie Curie

December 4, 2019

Having won the 2014 Harold and Mimi Steinberg/American Theatre Critics Association New Play Award for "I and You," this is the fourth production of a Lauren Gunderson play in New York since then including her solo play "Natural Shocks" on domestic abuse which was produced in 100 American theaters in 2018. A specialist in biographical plays, her "The Half-Life of Marie Curie" is of particular interest in that it tells a little-known story of a very famous figure. It is also notable for the vivid performances of Kate Mulgrew and Francesca Faridany. Although Gunderson is not yet a household name, she has been the most produced American playwright since 2016. [more]

“the way she spoke”

July 26, 2019

Written by Isaac Gomez, who lives across the border in El Paso, Texas, "the way she spoke" is a one-woman show that fails to speak to us: it’s performed by Mexican film star Kate del Castillo who attempts to give different accents and vocal mannerisms to the various characters she impersonates, without much success. She is no Whoopi Goldberg or Anna Devere Smith, who were--and in Smith’s case, still is--masters or impersonation. [more]

Proof of Love

May 24, 2019

Never really losing her cool, Pressley always commands the stage even though scenic designer Alexis Distler has made it difficult by creating a huge private room, beautiful in its understated way in blues and beiges, but difficult for one person to fill the space. Yes, Maurice is presumed to be in his hospital bed on stage right, and Lashonda is on the smartphone, but Pressley must negotiate the entire stage herself. Director Jade King Carroll has found reasons for her to move around from chair to sofa to a chair on the other side of the room, but has not helped much in making the play build an arc. The effective lighting by Mary Louise Geiger subtly shifts from afternoon to evening light without our realizing how much time has passed. [more]

Colin Quinn: Red State Blue State

January 31, 2019

The Brooklyn-born Quinn has been performing stand-up since the 1980’s and his seasoned wise guy New Yorker persona was once showcased on Saturday Night Live and in recent years in several theater pieces. Clad in a plaid shirt, black jeans and sneakers, this show business veteran uses his tuneful gravelly voice with its cadences of the streets to optimum effect. His material is a model example of superior comic writing. Bursts of perfectly crafted one-liners constructed in the classic form of set ups and punchlines, skillfully composed observational riffs and occasionally addressing audience members directly, all sustain "Red State Blue State"’s 75 minutes. [more]

Sakina’s Restaurant

October 31, 2018

In an apparent effort to demonstrate that he’s become one of us, Mandvi arrives in the theater by walking down the central aisle at the Minetta Lane Theatre, wide-eyed, as he peers and takes in the audience, on his way to the stage. And indeed, Azgi’s had at least 20 years to become increasingly assimilated: "Sakina’s Restaurant" was originally presented at the American Place Theatre in 1998. [more]

ON THE TOWN… with CHIP DEFFAA, February 3, 2018

February 6, 2018

If you’re in the mood for a night of laughter, “The Outsider”—a new comedy by Paul Slade Smith, receiving its East Coast premiere in January and February at the Paper Mill Playhouse--is great good fun. Oh, I’m not claiming it’s profound or a show that you’ll never forget, like “A Chorus Line.” If “A Chorus Line” is like a fine roast-beef dinner, “The Outsider” is more like a hot dog with all the trimmings. But sometimes a hot dog with all the trimmings just hits the spot. [more]

Red Roses, Green Gold

October 30, 2017

The score is comprised of Jerry Garcia & Robert Hunter’s Grateful Dead music and lyrics with additional music and lyrics by Phil Lesh, Mickey Hart, Bob Weir, and Bill Kreutzmann. It’s all an engaging patchwork well-realized by Jeff Chimenti’s polished musical supervision and arrangements. Though it’s wonderful experiencing such spirited renditions of Grateful Dead classics such as “Truckin,” “Casey Jones,” “Alabama Getaway” and “A Touch of Grey” by the talented ensemble, "Red Roses, Green Gold" doesn’t really cohere into a satisfying work of musical theater. [more]

The Portal

December 12, 2016

While the visual aid is being projected in the background, a rock concert/spectacle is taking place on stage in front of the screen, and this is--thankfully--more interesting that the latter content. Billy Lewis Jr. is the physical manifestation of Kelly’s Dante; a rock star whose belting is a metaphorical echo of his counterpart’s internal strife. Lewis Jr. is a natural at singing rock music, and his vocal prowess is a saving grace for the production. [more]

Himself and Nora

June 29, 2016

James Joyce most always put himself first, according to Jonathan Brielle, who wrote the book, music and lyrics for "Himself and Nora," (subtitled “The Greatest Love Story Never Told”), Minetta Lane Theatre’s new Off-Broadway musical. Brielle explores the narcissistic and codependent 37-year relationship between James Joyce and Nora Barnacle (who later became Joyce’s wife). For a purported love story that defined a genius and mesmerized Joyce enthusiasts for ages, the two-act musical is lightweight with minimal literary biographical details. [more]

Company XIV’s Snow White

February 4, 2016

Company XIV founder, director and choreographer Austin McCormick recycles his stylistic techniques that include a having troupe of physically attractive and dynamic dancers in skimpy costumes, pop tunes interspersed with classic music and standards, and circus flourishes. [more]

Nutcracker Rouge

December 4, 2015

Bejeweled codpieces, sequined thongs, taut bustiers, powdered wigs, elaborate masks, frock coats, tutus, and leather harnesses, are among the eye-catching elements of Zane Pihlstrom’s lavish costume designs. Mr. Pihlstrom’s dazzling set is composed of spiral staircases, ramps, old-fashioned footlights, mirrors, a miniature carousel with a pole on top used for dancing, and a period-looking curtain. [more]