Review: “Grease” at Casa Manana
It was apparent from the sea of “Pink Ladies” shirts, scarves, poodle skirts, leather jackets and throwback hairdos that the sold-out crowd at Fort Worth’s Casa Manana arrived ready to pay homage to the much-cherish, iconic musical, “Grease.”
“Henry V” at The American Theatre of Actors
Telling the classic story of Henry V’s clash with France and the bloody war that followed, director, Mary Lou Rosato brings us the story once again with an effective minimal set and a large and engaging cast. Henry V was brought to life by Laris Macario, who balanced the commanding presence of the battlefield with the warm compassion towards his fellow men very well. At first it felt as though Macario was simply screaming through his lines but this improved as the play went on.
Review: ‘Good Morning, Viet Mom’ by Cahoots Productions
Cahoots has billed this world premiere of ‘Good Morning, Viet Mom’ as authentic and irreverent. Franco Nguyen travels to Vietnam to look for inspiration for his first feature film and he finds an unexpected subject, his mother. Mr Nguyen then delves into the personal and shares stories about visiting Vietnam for the first time and being re-introduced to the mother he thought he knew.
Review: “The Boy Friend” at the Firehouse Theatre
Firehouse Theatre’s production of “The Boy Friend” ignites the stage with a vibrant, high-tempo, well-rounded performance. Backed by exceptional vocal talent and dynamic choreography, this cast crafts a superb, must-see show for theatre enthusiasts across the DFW area.
Review: "The Father" at The Coal Mine Theatre
I would bet that Coal Mine’s production will probably be nominated for some Dora awards this year. The social justice issues of examining dignity confronting a debilitating and ultimately life destroying disease has been handled with great respect in ‘The Father’. Beg, borrow or plead to get a ticket and to see true ensemble perfection.
Review: “Girlish” at Fresh Ink Theater
Fresh Ink Theatre Company, an organization known in Boston for producing new works by New England playwrights, recently closed their contemporary play “Girlish,” by Alexa Derman. This show, which ran from February 1st through the 16th at the Boston Center for the Arts Plaza Blackbox Theatre, tells the story of Windy (Atlee Jensen), a teenage girl who, despite her age, finds herself deep in the American Girl Doll fandom. The story follows Windy as she navigates how to balance her love of her dolls with the natural trials of growing up, including dating, makeup, and meeting the expectations of her trendy longtime best friend, Marti (Willa Eigo.) When Windy eventually strikes up a new and exciting relationship with a fellow American Girl Doll fanatic online, AGBOI97 (Dylan C. Wack), she begins to pull away from Marti and, in doing so, discovers a new array of truths about herself and her passion that cause her to step away from playing pretend and face her reality head on.
Review: “Toto Talks” at the Kraine Theater
If there’s ever a such thing as a cliché, overdone type of fringe show, it would have to be this: A show that’s heavy on humor that relies too much of both innuendo and raunchy humor, as well as recycled stories and characters from within the public domain. If you’re a fan of both drag queens and The Wizard of Oz, then maybe you might enjoy spending an hour of your day watching one of this show’s last performances. Otherwise, you’re probably better off looking into one of the FRIGID Festival’s other offerings this year.
Review: “We Are The Tigers” at Theater 80 St. Marks
Move over “Mean Girls,” there’s a new queen bee in town. Nine to be precise, currently gracing the stage at Theater 80 St Marks in the new musical We Are The Tigers.
Review: The Daniel Gwirtzman Dance Company Presents “Intersections” at 92nd Street Y
Provocative, whimsical, and ethereal, the Daniel Gwirtzman Dance Company defies expectations of postmodern dance and soars, unafraid to take risks and dazzle with unflinching honesty.
Review: 'The Last Ship' at the Princess of Wales Theatre
‘The Last Ship’ sailed triumphantly into the Princess of Wales Theatre on its opening night, and what a tumultuous welcoming reception it received with a standing ovation at the curtain call. This entire company is stellar. Beg, borrow, ask, demand and try to get a ticket if you can.
Review: ‘Little Menace: Pinter Plays’ at Soulpepper
Rarely have I ever had a chance to see a Harold Pinter play because one hasn’t been done so far. So, when I heard Soulpepper would be doing a series of Pinter one acts, I was intrigued and ventured forth to the Distillery District.
I don’t remember reading Pinter plays during my undergraduate years at Western in studying English Language and Literature. For shame, for shame, I know but I learned more about the term ‘Pinteresque’ from conversations with others in my involvement in community theatre or in discussions with other actors there.
Review: “The Importance of Being Earnest” at Wandernook Theatre
Wandernook Theatre brought Oscar Wilde’s, “The Importance of Being Earnest,” to life with well-crafted dialogue, authentic costuming and grace which paid homage to this beloved tale highlighting the absurdities of courtship, class--and earnestness--in Victorian-era high society.
Review: "Oslo" by Studio 180 Theatre
In this humble guy’s opinion, ‘good theatre’ should entertain an audience while ‘great theatre’ should entertain and teach us something extremely important about the human condition.
For me, playwright J. T. Rogers has created great theatre with ‘Oslo’, but it is a text richly laden with dialogue so the audience will have to pay close and careful attention. Under Joel Greenberg’s astutely-handled direction, thirteen actors channel emotional and passionate driven performances highlighting the first-ever peace deal between the State of Israel and the Palestine Liberation Organization. (PLO).
Review: “Tiny Beautiful Things” at Long Wharf Theatre
Here’s the thing, the night before I was supposed to see “Tiny Beautiful Things” at Long Wharf Theatre, I started to feel ill. A little nauseous, fatigued and achy. Even a few hours before curtain, I was unsure if I’d feel up to going. But, as it turns out, “Tiny Beautiful Things” is a theatrical Balm of Gilead. I’m not exactly saying it has curative properties. No play holds those powers…not even “Hamilton.” But the moving “Tiny Beautiful Things” is like a hug, a therapy session and a good cleansing cry all at once. It’s a rare thing for a play of substance to make you feel better upon leaving than when you walked in. “Tiny” does just that.
Off-Broadway Review: “Hurricane Diane” at New York Theatre Workshop
Playwright Madeleine George sets her “Hurricane Diane” in an Early Anthropocene Time, the era defined as “the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment.” Most, except members of the current Administration, see that influence to have been deleterious at best and are aware of the dire predictions for Planet Earth’s future viability unless this human activity is modified speedily and thoroughly. The effects of climate change are as evident now as they were when Ms. George’s play had its debut at Two River Theatre in New Jersey in 2017. Perhaps even more so. So why does New York Theatre Workshop team up with Women’s Project Theater to resurrect this problematic play?
Review: “Immigrants: We Are Them, They Are Us” at The Tank
Ever since the election of Donald Trump nearly three years, the topics of immigration and racism have come to the forefront on the national conversation, and have fueled many – in some cases uncomfortable, but consistently honest and necessary – discussions on these topics in the arts and the general public sphere. The latest example of such work was seen recently at The Tank, when the Asian-American Film Lab presented Cheryl L. Davis’s new play Immigrants: We Are Them, They Are Us for a brief limited engagement.
Review: "Mules" by Scotiabank Community Theatre at Streetcar Crowsnest
‘Mules’ is a dark comedy about choices, trust, friendship, circumstances, poverty and drug smuggling. In ninety minutes with one set and three actors, this play achieves what plays aspire to be. It is dramatic, suspenseful, comedic and emotional. The dialogue is engaging, the characters are complex and the performances are superlative.
Off-Broadway Review: Fiasco Theater’s Production of “Merrily We Roll Along”
“If at first you don’t succeed, try, try again” could prove to become the mantra of the famed Sondheim musical “Merrily We Roll Along” which was a dismal failure when it first opened on Broadway in 1981. There is a new production helmed by the Roundabout’s resident Fiasco Theater Company which falls short of delivering a new efficacious incarnation, becoming yet another casualty in the history of this troublesome and puzzling show. This current endeavor lacks the emotional depth of the characters needed to successfully bring forth the message; additionally, the cast is not vocally capable of delivering most of the brilliant musical numbers. However, the orchestrations and new arrangements for the eight-piece orchestra by Alexander Gemignani allow the audience to wallow in the brilliance of Mr. Sondheim’s captivating score and are the highlight of this production.
Review: “The Glass Menagerie” by Pigeonhold Theatre Company
“The Glass Menagerie” is a Tennessee Williams’ classic that needs no introduction. Often thought of as autobiographical the piece explores the weight of familial obligations and the dangers living in the past all told through the lens of a memory by the play’s focal point, a guilt-ridden Tom who is often thought to be a stand-in for Williams himself.
Review: “Lights Out: Nat ‘King’ Cole” at the Geffen Playhouse
Velvety voice Dulé Hill portrays Nat “King Cole during the last night of his televised variety show in Lights Out: Nat “King Cole at the Geffen Playhouse.
Taking my seat before the show, I admired Clint Ramos and Ryan Howell’s 50s style television sound stage set with “applause” and “on-air” boxes high up. We feel as if we are part of a studio audience. Musicians David Witham (Conductor/Keyboards), Greg Poree (Guitar), Edwin Livingston (Bass) and Brian Miller (Drums/ Percussion/ Orchestra Conductor) warm up before the show begins.