Off-Broadway Review: The Pond Theatre Company’s “The Naturalists” at Walkerspace

Off-Broadway Review: The Pond Theatre Company’s “The Naturalists” at Walkerspace

Currently playing at Walkerspace, The Pond Theatre Company’s “The Naturalists” is a compelling look at how one’s “secret” past can suddenly and unexpectedly encroach on the present and delay one’s progress into the future. Brothers Francis Sloane (a thoughtful and tender John Keating) and Billy Sloane (a defiant and burdened Tim Ruddy) enjoy an uneventful present in their mobile home in a rural hamlet of County Monaghan, Ireland in 2010. Their lives might not be described as idyllic; however, they get along most of the time, and the income from their cattle farm seems to provide a comfortable albeit spartan existence.

Read More

Review: "I Call myself Princess" at Aki Studio

Review: "I Call myself Princess" at Aki Studio

I Call myself Princess is a remarkable new play that deals with cultural appropriation in the best way possible — by taking back that which was stolen. Paper Canoe Projects and Cahoots Theatre, partnering with Native Earth Performing Arts, are presenting this world premiere of I Call myself Princess, written by Jani Lauzon.

Read More

Review: “In the Bleak Midwinter” at Theatre 54

Review: “In the Bleak Midwinter” at Theatre 54

For many adults, dealing with an aging parent and ensuring that they are cared for can be a challenging issue. More specifically, the dilemma of moving a parent out of the place they’ve called home for many years, and into a living home or community for the elderly, can be a hard one for both sides of that relationship. It’s a topic that is delved into on a very human and intimate level in In the Bleak Midwinter, the new play from Emmy award-winning actor/writer/director Dorothy Lyman, which has been receiving constant praise during its run at Theatre 54 at Shetler Studios.

Read More

Review: Candy Von Jameson Presents: “Bippity Boppity Boobs - A Burlesque Experience” at Art Centre Theatre

Review:  Candy Von Jameson Presents:  “Bippity Boppity Boobs - A Burlesque Experience” at Art Centre Theatre

If full disclosure is the name of this game, then I need to come clean and tell you that I’ve never witnessed a burlesque show before this evening. However, before attending “Bippity Boppity Boobs - A Burlesque Experience,” I did what every self-respecting writer does when faced with the prospect of dissecting the unfamiliar, I Googled it. Google… What is burlesque? It spit out a wild collection of burlesque's historical influences, scholarly works by intellectuals with many leather-bound books, political manifestos from anarchists and other disconnected, tangential thought streams which left me no wiser, no better prepared, than before.

Read More

Review: DCPA's "Oklahoma!" Shines

 The company of Oklahoma! Photo by AdamsVisCom

The company of Oklahoma! Photo by AdamsVisCom

Erica Newton

  • Contributing Denver Critic

When Richard Rodgers and Oscar Hammerstein created the “Mother of the Modern Musical,” Oklahoma!  in 1943, America was at war. The idyllic Oklahoma countryside, coupled with the true example of the American Dream- the settlements resulting from the Great American Land Rush, gave audiences a version of America to cheer for during a dark and troubled time. America was fighting a war on two fronts, having been attacked on American soil just two years prior.  What a joy, and a relief it must have been to see such unabashed optimism in the American experience. 

What Rodgers and Hammerstein likely didn’t account for, was what the turn of the century’s land grab movement meant for the post Civil War, freedmen and women of color.  I’ll admit, I’d never really taken much time to consider it before now, and certainly had never heard of the 50 all black towns settled in Oklahoma during that period of our nation’s history.  These towns were settled for many reasons I’m sure, but the predominant one is the bright promise for folks to live their lives free of the systemic discrimination thriving in America’s south and the Midwest.  These towns had their place in Oklahoma but ultimately were forgotten about post-statehood.  One might think that the creation of such places would help create within the state a welcoming environment to all people of color, but sadly this isn’t the case.  Oklahoma is, like the rest of America, still grappling with systemic racism.  We live in a time of protest and movements, where people take to the streets to demonstrate the injustices facing the good men and women of our country. With that in mind, the Denver Center for the Performing Arts Oklahoma! is both timely and necessary.

Walking into the Stage Theatre, its thrust stage is set with sepia-toned colors-an old Claremore newspaper the backdrop, massive, rustic, wooden beams the frame.  Upon closer inspection, the beams are accented with thick, corroded chains-and when taken in all together; it isn’t a stretch to think of other chains, turned orange by salt from ocean water, wrapped around ship beams that carried the souls of millions of enslaved Africans brought to the Americas generations ago.  (Some of whom are likely the ancestors of the performers taking the stage in this production.)  The rest of the set is equally as gritty-the cabin set with its rustic benches and tables are meant to show us its inhabitants worked the land.

But despite its grit and the long-forgotten history referenced in this production, Oklahoma! is nothing if meant to be bright and shiny, and that is precisely what the performers bring to the stage. The optimism of a new day ringing clearly in the opening lines of “Oh What a Beautiful Morning” through to the very end of the show.  There is no need to make any more references to the history of the 50 all black towns in Oklahoma, because frankly, watching this cast sing the classic songs written by Rodgers and Hammerstein does the trick:  This must be what it would’ve been like for newly freed men and women of color to work and live without fear of oppression, free to enjoy the life they worked hard for on those homesteads.  

The cast shines brightly and gives an honest, exuberant performance.  Since it is set on a thrust stage, the audience is quite close, so even the smallest of errors are noticed. Happily, apart from a few torn hems, there isn’t much more to be said of that.  With an audience on three sides of the performers, it is more difficult to stage any show- and while the entire stage is used well- from the two front exits stage left and stage right, to the trap door rising in the middle of the stage to create Jud’s smokehouse, much of the action is still played front and center.  Truthfully though, it’s difficult to be that upset when you’re so close to the action-a larger than life musical coupled with the sheer talent of the cast is almost overwhelming in the space-but in the best possible way.

The cast is led by the inimitable Antoine L. Smith as Curly, whose long list of credits include the most recent Broadway revival of The Color Purple, Miss Saigon, and most recently Carousel.  His rich, vibrant voice breezes through the classic score and melts the audience.  When he opens his mouth, you simply cannot look away.  He is matched well with Ta’Nika Gibson’s Laurey.  Her voice harkens back to those classic soprano voices Rodgers and Hammerstein wrote for.  If Smith and Gibson set the bar, the rest of the cast meets it:  The sound of the ensemble is rich and full-just what you’d anticipate when seeing Oklahoma!  

Choreographer Dominique Kelley delivered a modern take to this tried and true classic: the LaLa Land Dancer added stomp-like rhythms and some old ragtime taps, but where the choreography really soars is during the dream sequence:  Raven McRae Traoré simply floats and flies as Dream Laurey-and while the whole sequence is stunning, she truly is the star.  Dominique has been quoted as saying of this production, “ I would love to show that brown people have legs and feet and can twirl.” He accomplished this with flying colors-his job likely made infinitely more easy by the talented dancers in the cast:  Rennie Anthony McGee (who plays Will Parker) spins and leaps as if gravity doesn’t exist, and he’s not the only one. 

Denver Center for the Performing Arts’ production of Oklahoma! triumphs.  A timely piece not only because of the forgotten history it references but also because of the bright optimism shining through every lyric and 8 counts.  Rodgers and Hammerstein wrote a musical that fits the time it was written in as well as it does today:  For what better message can we experience in these troubled times than one of an America to root for and believe in, if only for 2 hours and 35 minutes?  I can think of none.

Review: "The Untranslatable Secrets of Nikki Corona" at the Geffen Playhouse

Review: "The Untranslatable Secrets of Nikki Corona" at the Geffen Playhouse

Screenwriter and playwright José Rivera (over 26 plays and an Academy Award nominated Motorcycle Diaries) wrote “The Untranslatable Secrets of Nikki Corona” with an interesting story line about death and communicating with loved ones in the afterlife. In the Playbill, Rivera was interviewed by Rachel Wiegardt-Egel about his inspiration for the play. About ten years ago, while looking through Harper’s Magazine, he noticed a company whose service was to connect people who are dying, with people who want to send a message to the other side. This fascinated him, and soon he began writing a creative play about exploring the afterlife where untranslatable secrets are told.

Read More

Review: "Meshahnye" at Theater for the New City

Katherine Hebert

  • New York Contributing Critic

A new translation of a Russian classic has made a home off-Broadway and into the thoughts of any audience member lucky enough to snag a ticket before the end of its run. Presented by Double Decker productions, Meshahnye (sometimes translated as “The Philistines”) was the premiere play by socialist realism founder Maxim Gorky.  It follows a family who’s bond rapidly deteriorates as the characters wrestle with a shifting socio-economic climate all while the Russian Revolution and subsequent aftermath looms outside their window.

Meshahnye-Flyer-768x1187.jpg

A piece that primarily focuses on the generational divide between parent and child. Most of the conflict derives the weight that comes because of this generation gap. Gorky (only 33 upon the play’s publication) made the choice not to blame either party and instead present the flaws in both groups’ ideologies whilst keeping both elder and child in an empathetic light. This all too relatable conflict is aided by Jenny Sterlin’s new translation and direction which manages to breathe new life into a revered classic. While a strong and capable cast pulls off a marathon of a play (clocking in at two and a half hours) which on its own is an impressive feat. Though I should note that the strength of both the text and the cast is so great that  you barely notice the length.

Heading this unit is the family patriarch Bessemenov (portrayed by John Lenartz). Lenartz manages to garner sympathy from the audience by bringing humanity to what is on paper and in the hands of a less capable performer a crotchety curmudgeon. At his side is the phenomenal Isabella Knight portraying Akulina, the matriarch of the family clan. Knight brings a dignified desperation to her character’s feeble attempts at making peace between her husband and children. Her pleas for peace fall upon the deaf ears of her children, the perpetually miserable Tatiana (Annie Nelson) and the often angst-ridden Peter (Thomas Burns Scully). Despite the picture both Gorky’s dialogue and Jenny Sterlin’s translation paint of Tatiana’s mental state, Nelson finds her strongest moments in Tatiana’s silence rather than in her declarations of misery. While Scully’s take on Peter is earnest and endearing with more than a fair share of humor sprinkled in, making what could very easily be an unlikable character charming. Watching the familial chaos unfold is their tenant Teterev (Zenon Zeleniuch) Zeleniuch portrays Teterev with a near devilish glee often deriving pleasure from the family’s plight. But if Teterev is the devil on this family’s metaphorical shoulder than Perchikin the drunken bird-seller serves as their angel. Kenneth Cavett’s Perchikhin is jovial and brings levity to the often grim subject matter. His speeches about his birds as well as requests for connection from the children who once admired him are rapturous and tragic. As these requests are often brushed off or unheard. Another beacon of positivity in an otherwise miserable household is Perchikhin’s daughter Polya (Ninoshka De Leon Gill) who portrayed with a childlike naivete and plucky determination.

Overall Meshahnye is a riveting revelation and sure to strike a chord with anyone who has gone home winter break after spending a semester abroad. Playing at the Theatre for the New City until September 30th this is new interpretation of an all too relevant classic is not one to miss.

Review: “Caligula” at Medicine Show Theatre

Review: “Caligula” at Medicine Show Theatre

During the time of ancient Rome, there was a cruel and mentally unstable ruler who dominated the land known as Caligula. In recent years, writers and commentators at various publications – such as the New York Times and the Guardian – have revisited the history surrounding Caligula’s erratic behavior and actions as leader of Rome, for the sake of providing a historical parallel to the chaotic behavior of President Donald Trump and his administration. So perhaps it shouldn’t be too shocking that, in 2018, Medicine Show Theatre would choose to present the story of this ancient historical figure, as its latest production this September.

Read More

A U.K. Review in [exactly] 250 Words: "Square Rounds"

A U.K. Review in [exactly] 250 Words: "Square Rounds"

Currently playing at London’s Finborough Theatre, Square Rounds is a clever, quirky play which is for the most part very enjoyable. The first act is a lot stronger than the second, changing with more ease between the comedic and the sinister elements of the show. The second act, conversely, seems bogged down with the historic details of this story’s more tragic elements, and some of the show’s character is lost towards the end.

Read More

Review: "Sweat" at the Mark Taper Forum

Review: "Sweat" at the Mark Taper Forum

It was a homecoming for director Lisa Peterson of The Pulitzer Prize-winning play SWEAT as she watched her nine actors perform on opening night at the Mark Taper Forum. She was once the Resident Director at the Taper for ten years from 1995-2005. A lot has changed in the nation since she was last directing in Los Angeles, making this American drama so compelling and enlightening for the audience.

Read More

Review: “Girl Inside the Mirror” at Theater for the New City

Review: “Girl Inside the Mirror” at Theater for the New City

Last summer, I had the chance to see many of the shows that were participating in the 10th annual Planet Connections Theatre Festivity. There were many intriguing selections, not all of which I had the chance to see, unfortunately. Among such shows which I had been hoping to see, at the time, was Girl Inside the Mirror, a new theatre-dance piece from writer/director Nicoletta Mandriotti. Thankfully, however, I recently had the chance to see it during its second run at Theater for the New City – as part of their annual Dream Up festival – upon being invited to review the show.

Read More

Review: “Wave” at the Duplex Cabaret Theatre

Review: “Wave” at the Duplex Cabaret Theatre

There’s a lot of impressive history behind the Duplex Cabaret Theatre. I remember when I first went there to see a friend perform in her own show this past summer, and seeing and hearing about all the past legends – from Joan Rivers to Woody Allen – spent their early careers in this legendary venue. Of course, like any venue that has so many guest performers, it’s fair to assume that for all the good performers, there are also the bad ones. Every so often, however, there are also the performers who aren’t bad, but aren’t phenomenal, either, which is what I was treated to this past weekend.

Read More

U.K. Review: "Road" at Leeds Playhouse

U.K. Review: "Road" at Leeds Playhouse

Jim Cartwright’s acclaimed play Road has long been considered one of the greatest representations of a struggling 1980s Britain, where communities banded together to fight against the drudgery and monotony of the often bleak daily grind via the channel of whiling away the midnight hours with drinking, partying and sex. In short, Road marks a turning point in British history, where new cultural resilience gave rise to something greater, more developed and poised to tackle new challenges. The same can be said of the newly renamed Leeds Playhouse, which has now entered its brand new season, and while the old building is currently being refurbished, they’ve taken over one of the old scenery workshops and transformed it into a pop-up theatre space. Minting this new space is the aforementioned Road, directed by Amy Leach.

Read More

Review: “The Heist” at the Hudson Guild Theatre

Review: “The Heist” at the Hudson Guild Theatre

Last month, I had the opportunity of seeing All the Kings Horses, a relatively short but brilliant drama at Shetler Studios’ Bridge Theatre which revolved around the highly important issue of domestic violence. It was just the most recent work from the prolific writer/director Pamela Scott, who is clearly keeping busy this summer, as she immediately followed it up with the return of a previously produced, critically acclaimed one-act, now playing at the Hudson Guild Theatre as part of the New York Theatre Festival’s 2018 NYSummerfest.

Read More

Review: “In the Penal Colony” at The Tank

Review: “In the Penal Colony” at The Tank

In recent years, an increasing trend I’ve noticed in independent theatre is one of artists taking the short stories of legendary writers from the 19th and early 20th centuries, and adapting them for the stage, in the hopes of re-introducing these stories to new generations. Some of these adaptations have generally been more impressive than others. However, In the Penal Colony – based on the short story by Franz Kafka of the same name – certainly stands out, in that goes further than other such works, in terms of how creative they are with the way they depict the story.

Read More

Review: “The Truth” at Manhattan Repertory Theatre

Review: “The Truth” at Manhattan Repertory Theatre

Manhattan Repertory Theatre is known for frequently hosting the short play productions of new playwrights, over the course of the entire year. For the sake of full disclosure, I will say that I myself had my 1st play in NYC produced at Manhattan Repertory Theatre nearly two years ago, and my personal experience with them has been highly positive. So when I was recently invited to review another writer’s short work at Manhattan Rep this past weekend, I admit I was quite intrigued.

Read More

Review: "Sisters" at Soulpepper Theatre

Review: "Sisters" at Soulpepper Theatre

The Background Notes informed us that playwright Rosamund Small, a recent graduate of the Soulpepper Academy, adapted Edith Wharton’s Bunner Sisters for the stage. It’s heartening to know that Soulpepper trains its’ graduates to continue their craft on home base territory within the two theatres here at the Young Centre. As the pieces continue to be picked up, let’s hope there is more opportunity for theatre of this calibre.

Read More

Review: “Larvae” at Alchemical Theatre Laboratory

Review: “Larvae” at Alchemical Theatre Laboratory

When you think about it, we’re not all that different as human beings. We love, we argue, we solve problems, we grow and evolve, we may feel jealous occasionally, the list goes on and on. For anyone reading this review, I have a hard time believing how that would be a disagreeable assessment of the human race. Less certain, however, is whether these feelings are also felt universally among insects, such as larvae and butterflies. Yet in the new play Larvae, the clear and definitive answer is “yes”.

Read More