The final offering of The Schoolhouse Theater’s 34th season is Gladstone Hollow, a mesmerizing, haunting play, written by and starring two-time Emmy award winner, Dorothy Lyman.
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“13 Fruitcakes” dazzles and destroys in one-two punches expertly strung along thirteen original musical vignettes depicting the queer experience across history. These thirteen scenes transport us from ancient to modern times, highlighting obscure and noteworthy LGBTQ+ figures and the prices they paid throughout their historical impact, ranging from AD 780 Korean King Hyegon.
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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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Perhaps all the people of the world should just go ahead and create the greatly feared New World Order everyone’s always talking about and declare Eddie Izzard its de facto leader. Now that would be wunderbar indeed.
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“Three Musketeers 1941” was an exhilarating theatrical experience that brought classic characters into a more relevant time period without making them feel too modernized. It unflinchingly portrays the World War II era and gives us characters we can no doubt relate to as well as hope for.
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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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This “close-up theater” version of the play, a term coined by it’s director John DeSotelle, allows the audience to feel as if they are sitting in the Corbett’s living room with them while they navigate a life in which their son is painfully absent.
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Vanguard Theater Company's Broadway Buddy Mentorship Program offers emerging musical theater artists, ages 12 - 25, a unique opportunity for on-on-one mentorship with some of Broadway's most accomplished and rising performers, that culminated in a once in a lifetime cabaret performance on June 3, 2019, at the Leonard Nimoy Thalia Theater at Symphony Space.
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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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Kate Hamill’s retelling of Louisa May Alcott’s “Little Women” plays at Primary Stages at an auspicious time. Amid unprecedented national and political division, issues of gender identity, gender equality, and gender protection continue to be critically important.
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While not their best of the season, perhaps, it was nonetheless a fun finale to their 2019 series of show, and bound to be something that Millennials and Boomers alike would certainly enjoy seeing.
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A poignant exploration of life, love, and loss, Emanuele Aldrovandi’s “Butterflies,” making its United States premiere currently at The Tank through June 8, unfolds over the next ninety minutes as a rollercoaster of blunt dialogue mashed with symbolic theatricality, a masterclass in heartbreaking coming of age vignettes.
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Cold Blooded Witch: The Sex Musical is a one-woman show that’s earned its place in the biggest Fringe Festival in the world. It’s a fantastic opportunity to watch an actor and up-and-coming comedian tell a story that you, quite literally, will not hear anywhere else. It is superbly expounded, thoughtfully presented, and damn funny to boot.
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Under Arin Arbus’s exquisite direction (Broadway debut), Audra McDonald and Michael Shannon play to perfection the EveryMan, EveryWoman, EveryOne seeking to overcome their finitude and fallibility to connect with another person in a meaningful way and establish a non-judgmental relationship against all odds.
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Margot Bordelon directs “Something Clean” with the briskness of a broom that sweeps across Reid Thompson’s relatively expansive set in the Black Box Theatre in the Harold and Miriam Steinberg Center for Theatre. He cleverly divides the spaces between the Center and the Walker homestead with carpet tiles of differing subdued colors and provides three exits for the actors to accommodate the play’s rapid-firing short scenes.
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The Big Apple called me, and I really wanted to pay a visit. I also knew friends would be in town and they had already booked me a seat with them to see ‘Enter Laughing, The Musical’. I knew nothing about the play but recognized several names in the production’s credits and thought to give this one a go at it.
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Gina Femia’s extraordinary new high school-set play “The Virtuous Fall of The Girls From Our Lady of Sorrows” utilizes a simple premise to dive headfirst into the complex, all-too disheartening vortex known as the patriarchy. Set in the not-so-distant past immediately following 9/11, the play follows an adolescent group of girls trying to stage an original adaptation of Shakespeare’s “Measure For Measure” at their all-girls Catholic school.
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