The scenes establishing the outlines of the mystery tend to be episodic rather than tightly integrated narrative, building tension to a dramatic resolution. Colette Robert's direction of the fine ensemble is spot-on and well-tuned within the confines of the script. Still, the script's structure leads to the production's episodic nature and ultimately fails to develop the strong air of mystery and suspense in a ghost story. [more]
Taylor Reynolds has directed an excellent ensemble in bringing this play to life in an engaging, thought-provoking, and heartfelt way, but not without some issues. Through his direction and the actors' performances, "La Race" challenges the audience with clearly articulated and impactful ideas. However, the success in presenting those ideas depends on how they are performed, which is one of the problematic areas. Expressing strong emotions about an issue is challenging without being preachy or strident. There are scenes where certain key characters go into rants about racism, sexism, and gentrification that seem out of place with the carefully constructed plot lines that approach those issues in a less strident and more thoughtful way. [more]
Chung has the six characters played by three actors, each playing a parent/child duo switching from one to the other in confusing frequency. In addition, each actor plays a parent of the opposite gender. To muddy things even further, all the characters are played by Asian-Americans who make honest, but failing, attempts to adopt working class Italian and Irish Catholic accents and attitudes. Lon/Daniela are played by Cindy Cheung; Roberta/Robbie by Jon Norman Schneider; and Theresa/Tim by Rob Yang. [more]
Deliriously and explicitly profane, Michael R. Jackson’s Pulitzer Prize winning musical, "A Strange Loop" has—unbelievably—made it to Broadway, produced by Playwrights Horizons, Page 73 and the Woolly Mammoth Theatre Company. Jackson’s explicit portrait of a lost soul’s salty journey is alternately stunning and amusing, appealing and appalling, told at a breakneck pace through his book, lyrics and music. It’s a rare, if dispiriting, portrait of a gay man who isn’t a paragon, a man who isn’t conventionally handsome, successful or rich. [more]
Page 73’s world premiere of John J. Caswell, Jr.’s "Man Cave" is an exciting, riveting supernatural horror story. While at times it seems overwrought and overstuffed with too many issues, Taylor Reynolds’ production works beautifully holding our attention until the final moment. Its satisfying ending seems totally in keeping with the events that precede it and its ensemble of four is completely believable as they attempt to deal with seemingly overwhelming contemporary issues. [more]
In making her professional stage debut courtesy of Page 73, Zora Howard has written a powerful kitchen sink drama in 'Stew," as much about making a literal stew as about the emotional stew the four women in the Tucker family of Mt. Vernon find themselves in. While many of the elements are family, Howard combines them in new ways so that the play seems both new and true. With a terrific cast headed by Portia ("The Rose Tattoo," "Ruined," "Rinse Repeat," "Our Lady of 121st Street") as the family matriarch, director Colette Robert keeps the temperature continually simmering on a low boil until all of the secrets and events have been revealed. This is an American tragedy as well as a study in how we live in this era. [more]
Twenty-five-year-old African-American Michigan native and New York University graduate Usher is an usher at a Disney Broadway musical who is writing an autobiographical musical about his troubled life. His religious Christian parents are scornful of his sexuality and dubious of his career goals as he doesn’t emulate the commercial simplisticness of Tyler Perry who gets skewered in a production number. This exploration is light on plot and so we get a series a of overheated vignettes often laden with wan shock value. The often didactic dialogue relies on scatology peppered with the N-word. Dark comedy crossed with poignancy abounds. [more]
On the one hand, it is a punch in the gut dramatizing the cold hard facts of disintegrating with this disease; on the other, the non-linear time scheme is difficult to follow, offering more questions than it answers. What "Orange Julius" really is could be described more accurately as a screenplay or a teleplay with cuts and fades. There is a powerful work hiding in this material but it still remains unshaped. Under Dustin Wills’ fast-paced direction, Jess Barbagallo, Ruy Iskandar, Irene Sofia Lucio, Stephen Payne and Mary Testa give fine performances despite the fact that the play seems to wander around trying to find its center. [more]
