Shifting abruptly from flashbacks to a form of the present, we follow Jo, a young woman formerly a folk/country musician and now an actor. Periodically she is shown reading from and trying to memorize a script indicating that she's preparing for a role, seemingly in a television police drama. Much of the action takes place in 1974 in a rundown New Mexico wood-paneled motel room where an estranged trio of country western performers has gathered to launch a reunion tour. [more]
The City of Conversation is very rewarding theater whatever your political persuasion may be. The use of the social and political climate of the last 30 years is astutely delineated and always part of the fabric of the play, rather than a history lesson. [more]
Over a 25-year career as a playwright, Mr. Silver has become known for his eccentric black comedies with abrupt shifts in tone. This one feels like a breakthrough being his most ambitious and successful on many levels. The unison of remarkable writing, grand performances, and assured direction make Too Much Sun a highly outstanding play. [more]
Gideon Glick as Matthew is terrific, physically disappearing into his character so completely that he would not be recognizable in the street. Actors can get away with playing misfits as a collection of tics, so it's a great thing to see Glick dig deeper and infuse Matthew's every movement with his particular personality. [more]
Under My Skin with its 20 scenes and endless set changes (designed by Stephen Dobay) is lame in the humor department and has nothing new to say about the healthcare system. Had director Kirsten Sanderson toned down the exaggerated acting style, some of the material might have worked. [more]
While Dan Wackerman's production is always absorbing, the muddled psychology in the script and the debatable choices made by the actors keep the play from joining Inge's more important major plays. [more]
Playwright Albert J. Repicci structures his theatrical debut work in twelve scenes of varying length taking place at multiple locations and the uneven results dilute the effectiveness of the interesting political and personal themes that are explored. [more]
Gardner McKay's Sea Marks is beautifully written but leaves a great deal up to the actors and the director as does a scenario for an opera or a ballet. The performers must flesh out the underpinnings of the story. Director Ciarán O'Reilly has done a fine job with the characterizations but has not brought out the passion that underlies the tale. [more]
Then you begin to see the chasm Joanna feels hating the child that took her from the job she loved and how in the world do we mend that? Then you begin to see that Robert's self-worth is built on shards of something that took off in the wrong direction. Then you begin to see with the young eyes of Stella and wonder what she's going to make of her future and if she's alone in her clear eyed-ness? And Jake? He's insulated himself. Don't we all. [more]
The trouble with British playwright David Rudkin's stage play, "The Love Song of Alfred J Hitchcock," is that it started life as a radio play and it hasn't escaped very far from the radio studio. Still a play for voices, Rudkin's script has a great many introspective monologues by the iconic director but not much action, a strange choice for a story of a director whose movies are loaded with incident. The play assumes a great in-depth knowledge of the director's work: such movies as "Marnie," "Vertigo," "Strangers on a Train," "Psycho," "The Birds" and "Frenzy" are referred to tangentially but remain unnamed. It would take a film historian to track down all the references but apparently the play is expected to stand on its own which will confuse many theatergoers. [more]
The Pearl Theatre Company's revival of Richard Brinsley Sheridan's 1777 comedy of manners "The Rivals" is both laugh-out-loud funny and intellectually stimulating. Hal Brooks' exemplary direction scores immediately in the first scene. It's a typical pre-modern opening, pages of dense exposition where a couple of minor characters discuss the major characters and their situations. Brooks avoids tedium and confusion by having the characters appear upstage when named, doing a bit of dumb show when appropriate. It's a perfect solution, introducing the actors and plot without fuss, without anachronism, and without wasting time. [more]
James Lapine's stage adaptation of Moss Hart's celebrated autobiography of his early years, Act One, is a bit unwieldy at under three hours in length as it does contain so many characters and incidents. However, like an absorbing mini-series you have lived with over a period of time, you will be sorry when it is over. [more]
Time has caught up with Jon Robin Baitz’s 1991 play and bankrupting one’s company over issues of integrity no longer seems quite admirable. Jon Robin Baitz writes literate, thoughtful plays like his 2012 Pulitzer Prize finalist, Other Desert Cities. However, like the revival last fall of his earliest play The Film Society showed, plays may date badly or their attitudes become artifacts of another generation. [more]
The director deserves high marks for keeping the actors' delivery quick and light; anything else would have put the audience to sleep. His cast comes across as sincere but mostly inexperienced, with the fine exceptions of James and Blankenship. [more]
Clean, by playwright Sabrina Mahfouz, the other play on the double bill, is really not clean at all but director O'Loughlin isn't fazed a bit and whips her three, highly ornamental criminals through their paces with a stylish kind of nervy aplomb that sets off their rashers of charms while greatly adding to the fun – and by the way – wittily knocks off lots of bucks from production costs. No mean feat. [more]
Director Jack Cummings III has not only chosen a new environment for this realistic play, he has also chosen to perform it with ten veteran actresses (who would be classified as senior citizens) playing all 23 parts, including teenage girls and boys, and all the male characters. When the audience enters the Gym at Judson the entire space has been turned into the playing area with seats in two rows around all four walls. Ten dining room sets with displays on each occupy the space, the size of a basketball court. [more]
There has been renewed interest lately in the early, pre-How I Learned To Drive plays by Paul Vogel, the Pulitzer Prize-winning playwright. First there was The Baltimore Waltz (1992) at the Underground Theater last November. Now And Baby Makes Seven from 1984 is on view in a thoughtful, detailed production by the Purpleman Theater Company, directed by Marc Stuart Weitz, at the New Ohio Theatre in the West Village. Baby's tale of a same-sex couple having a child still resonates with particular clarity nowadays. Except for the fact that this lesbian couple, Ruth and Anna (the one who's bearing the child) couldn't be married back then, the play rings true as it explores all the anxieties, humor and fantasies straining the relationship of these two women with each other and with Peter, the biological father of the child. [more]
