Posts in New York
Review: “Washed in the Blood” at the NuBox Theatre

On October 1st, 2015, the students at Umpqua Community College in Oregon became among the many to have experienced the firsthand horror of gun violence in their school, as an armed shooter opened fire on them, immediately after asking each of them the question: “Do you believe in God?” To this day, questions remain over the shooter’s exact motives, and why he would ask his victims that question. However, in Washed in the Blood – Joshua Crone’s fictionalized depiction of these horrific events – we are offered an idea of what might have happened that led to such a tragic incident.

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“Jilted to Perfection” at The Triad Theatre

With a book, music, and lyrics written by Debra Cook, “Jilted to Perfection” tells the story of a divorced Mormon mom and her growing relationship with a scientologist actor/director. Through this relationship she takes many risks, makes many sacrifices, and watches her life change before her eyes.  Told mostly in a monologue with songs throughout, Cook takes us through her life in this new musical.

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Review: Hedgepig Ensemble presents “Mary Stuart”

In a world enraptured equally by Game of Thrones and Fox News politics, female leaders vying for a place in the history books being pitted against each other is nothing new. In this fresh take on perhaps the world’s most iconic sister rivalry of Mary, Queen of Scots vs. Elizabeth I of England, Mary Stuart examines female leadership under the eyes of family, politics, and religion in a production fit for a Queen.

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Broadway Review: 'Oklahoma!' Fails to Measure Up

Buried somewhere beneath the myriad sheets of plywood neatly lining the walls and covering the floors of Circle in the Square is the original sheer splendor, strength, and – yes – the overwhelming darkness of the original production of Rogers and Hammerstein’s “Oklahoma!” Alas, that poor “Oklahoma!” is dead and is unceremoniously buried in Daniel Fish’s pretentious and overwrought “Oklahoma!” – never to be resurrected from the detritus of hanging guns galore, rows of bright red crock pots, and more yodeling than might be found anywhere in the Matterhorn.

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Review: “The Ship Be Sinkin’” at the Producer’s Club

For as long as can remember, Titanic has always been one of the cheesiest romance films – if not THE cheesiest – to have been released in my 26 years of life. So naturally, it has also consistently ranked up there as one of the easiest targets for parody by comedy writers, ever since its 1997 premiere. The fact that that’s still the case is proven yet again by the Improvisational Repertory Theatre Ensemble’s latest outing at the Producer’s Club.

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Review: “The Art of Protest” at Articulate Theatre Company

If there’s any one word that describes the political climate that has defined this past decade, it has to be “protest”. From economic injustice and climate change to gun violence and racial discrimination, to name just a few, there have been countless social and political issues that have created a great of unrest among the people, in large part thanks to the inability – or in many cases, unwillingness – of our so-called leaders to do anything about it. That’s exactly the type of narrative that is captured in the fundraising performance presented this past week by Articulate Theatre Company.

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Review: 'Twelfth Night' at Alchemical Studios

When it comes to adaptations of Shakespeare, of which there have been plenty over the years, there’s both the good and the bad. In some cases, however, as it is with most art, the way in which you judge the production might simply depend on your taste in theatre. Namely, it might depend on how much you love the playwright’s works already, prior to seeing the show. That is arguably the case with the latest indie theatre production of Twelfth Night, now running at Alchemical Studios.

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Review: “He’s Your Daddy” at Manhattan Repertory Theatre

When it comes to writing material that is bound to appeal to large audiences, it’s hard to go wrong with writing a family comedy. Throw in enough awkward situations and raunchy humor, and the result is usually bound to be an experience that will leave you laughing out loud from beginning to end. Such is the case with He’s Your Daddy, the latest outing to be presented at Manhattan Repertory Theatre.

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Review: “June is the First Fall” at New Ohio Theatre

There’s no shortage of new plays being written in 2019 that deal with LGBTQ issues, and the continued discrimination that many members of the LGBTQ community continue to face to this day. However, it’s not every day we see a play that explores the specific strain of homophobia that still runs strong among older generations in the Asian-American community. Yet June is the First Fall, now running at New Ohio Theatre, does an outstanding job at doing exactly that.

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Review: 'Miranda From Stormville' at IRT Theatre

A modern retelling of Shakespeare’s “The Tempest”, “Miranda From Stormville” tells the story of nineteen-year-old Miranda living in Stormville, New Jersey with her sick father and his caretaker Ariel. After a mysterious storm, they are visited by two stranded travelers, Will and Steve who have found themselves stranded after crashing their car on a nearby highway. Outsiders to the mysterious Stormville and stuck waiting for their car to be repaired, Will and Steve discover that there may be more to this hidden New Jersey town and the people living there than they thought.

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Off-Broadway Review: “Nantucket Sleigh Ride”

In the 18th and 19th centuries, new phrases entered the language of the sailors who took to the sea off the island of Nantucket, one of the whaling capitals of the world during that period. One specific expression “Nantucket Sleigh Ride” describes what happens when a harpooned whale drags the sailors in their long boat across the surface of the water in the wake of waves until it dies. During this treacherous event, which was a fight to the finish, sometimes the sailors also perished. John Guare’s somewhat new play (revised from a previous 2012 production at McCarter Theater) is aptly titled since the audience is only given enough to trawl over the surface of the story and characters without any depth of understanding until the play dies or the audience gives up trying to comprehend it. The switching from reality to the surreal and absurd becomes too confusing and too big a whale of a tale to comprehend the message or purpose of the play. Stopping half way through the farcical memory ride for an intermission seemed unnecessary for a ninety-five-minute play.

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Off-Broadway Review: “The Mother”

Somewhere in France, or perhaps in England in the nineteenth century, a young married woman is standing at the kitchen sink washing dishes after an evening meal. A dish slips from her hand, breaking I pieces as it hits the floor. The young woman begins to cry, sob really. Her husband not understanding any of this “odd behavior,” reaches out to the family physician who makes the diagnosis of hysteria and prescribes laudanum to “sedate” her. If the laudanum isn’t effective over time, this young woman – like many others of this time period – might be institutionalized for having “felt,” or “been sad,” or “not been a dutiful wife.”

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Review: “Tammy’s Bachelorette” at the Producer’s Club

With spring time creeping right around the corner, that means only one thing in the worlds of comedy and independent theatre: The return of the long-running Improvisational Repertory Theatre Ensemble, with their latest season at the Producer’s Club in Hell’s Kitchen. Having managed to catch all four of their shows during their season last year, I recently had the chance to return and see their most recent outing, and their first of 2019.

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Review: “Moral Support” at Medicine Show Theatre

Alcoholism. Abuse. Divorce. Dysfunctional families.

 All of these are familiar themes in American drama. Rightly so, given how well they’ve proven to continuously resonate with audiences, to some extent or another. However, it’s not every day you come across a script that seamlessly weaves each of them together as well as Moral Support, which recently enjoyed a successful two-week run at the well-renowned Medicine Show Theatre.

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Jeremy Jordan Owns the Stage, Bares It All, and Takes No Prisoners in His Town Hall Triumph

It’s been said that the era of the great Broadway leading man has passed.  While this bizarre claim generally emanates from the fingertips of those who relish living in their memories and fail to provide any hard evidence, it does leave a person periodically flipping through old Playbills for great examples to the contrary. 

How fortunate are we that we need not look too far when one Mr. Jeremy Jordan is heartily emoting on the stage.  A man who truly needs no introduction to the readers of this publication, the Tony-nominated tenor occupies one of very few spots in the stratosphere of the elite and, indeed, reigns supreme among those leading men under the age of 40.  Hailing from Corpus Christi, by way of Ithaca College, Jordan not only cleaned out the inventory at the Handsome Store, but clearly ransacked the Talent Warehouse en route to Broadway.

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Off-Broadway Review: “If Pretty Hurts Ugly Must Be a Muhfucka

“If Pretty Hurts Ugly Must Be a Muhfucka” in the Mainstage Theater at Playwrights Horizons is a must see. Audiences need to support new voices like Tori Sampson. Her contributions to the theatre will continue to challenge the ways we have understood what theatre is, how it is expressed, and how its messages can be exposed to audiences.

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Off-Broadway Review: National Yiddish Theatre Folksbiene’s “Fiddler on the Roof”

One father longing to be wealthy enough to adequately care for his family – and letting the Creator know he feels overlooked – and three “adult” daughters dodging the craft of the local matchmaker are the grist for an epic challenge to the traditions held dear by the members of Tevye’s Shtetlekh and its “on-the-fence” Der Rov (a confident yet conflicted Adam B. Shapiro) who is often consulted to determine which traditions remain relevant and which might have become obsolete. Tradition. Culture. Politics. Love. Tevye grapples with these four and more in National Yiddish Theatre Folksbiene’s “Fiddler on the Roof” currently running at Stage 42.

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