“Bernard Shaw’s Caesar & Cleopatra,” currently playing in Theatre 1 at Theatre Row, injects a palpable dose of modernity into the history of the relationship between Caesar’s Rome and Cleopatra’s Egypt.”
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“Jack Thorne’s “Sunday,” currently running at Atlantic Theater Company’s Linda Gross Theater, seems to elicit one of two responses: disappointment or robust enthusiasm.”
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“Despite the help of his fellow actors, Jeffrey Bean does not quite show the audience the shadowy underbelly of John’s story. Perhaps he needs more direction or perhaps he needs even more help from Mr. Hegarty and Ms. Street. “
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“The casts under directors Loretta Greco and Awoye Timpo deliver remarkable and unforgettable performances.”
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“One wishes for a more coherent story with a more cathartic and realistic ending. A story more fitting for the assembled “rock stars” of the theatre.”
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“What could go wrong at a private school whose board of directors (all five of them) make all decisions based on consensus and have only what benefits the community at heart? “
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“Writing a play about two iconic figures like Paul McCartney and John Lennon is risky business. Bob Stevens’s “Only Yesterday” currently running at 59E59 Theaters falls victim to taking such a risk.”
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““Tech Support” – despite its well qualified and talented cast – barely rises above the rigorous and well-established standards for community theater.”
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Keith Hamilton Cobb, under Kim Weild’s sagacious direction, takes on these societal false securities with an enormous passion and a deep desire for healing.
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Currently running at Theatre Row, Ma-Yi Theater Company’s “Felix Starro” launches the Company’s 30th Anniversary Season. The musical is based on Filipino-American writer Lysley Tenorio’s short story of the same name that appeared in his 2012 collection “Monstress” in which “a famous Filipino faith healer and his grandson Junior conduct an illicit business in San Francisco, though each has his own plans for their earnings.”
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In the first forty minutes of “Make Believe,” under Michael Greif’s careful direction, the young cast of four successfully provides the needed exposition for the success of the final 40 minutes populated by the adults.
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The rich and enduring questions raised in “Rinse, Repeat” transcend the content of this important play and are relevant to all decisions that affect the sustainability of life and the integrity of the ego strength required to experience healthy psychological growth.
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“The Office! A Musical Parody” connects the heart of the beloved source material to the much-needed laughter of a 2019 audience stuck all too often in an often-times dark world.
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Despite the challenges of the script, the three fine actors transcend the material to offer glimpses into the often-undisclosed problems facing three generations of women caught in restrictive matrices of expectation and oppression. It was wonderful to see Marsha Mason’s craft coalesce the threads of the three women-in-waiting to a settling down to sleep and all that metaphor encompasses.
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O’Casey’s themes of nationalism, divisiveness, religious freedoms and “rights,” the merits of socialism, and fantasy versus reality (fake news, alternate facts) counterpoint powerfully with the current political climate in the United States and throughout Europe.
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MIDNIGHT STREET, a dramatic, perplexing new musical written and directed by Arnold L. Cohen, with music direction by Matt Castle, is currently slogging its way through a run at Theatre Row through June 22.
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With a nod (intentional/unintentional) to the genre of disillusioned youth represented by Kenneth Lonergan’s 1996 “This Is Our Youth,” Carla Ching’s “Nomad Hotel” currently running at Atlantic Theater Company Stage 2 dives headlong into the lives of a triangle of vagabond California youth yearning to belatedly separate and individuate from adults who have been less than successful in providing safe and secure environments and unconditional-nonjudgmental love.
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Under the playwright’s direction, the cumbersome play raises more questions than it answers and leaves the inquiring audience member desperately flipping through The Diagnostic and Statistical Manual of Mental Disorders to sort out the dysfunction displayed on stage.
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It could be argued that everyone has an addiction. It can be as common as drugs or alcohol; it could be more culturally acceptable, like television or video games. Even science and religion can become a person’s addiction.
In Dave Malloy’s new musical, “Octet,” recently extended to June 30 at the Pershing Square Signature Center, he addresses one of the more recent growing addictions, personal technology.
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