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Adam Honoré

Los Otros

September 5, 2022

A fresh antidote to the usual brassy, loud rock musicals of today, "Los Otros" slows down the tempo and the sound level with a story of the experiences of two people who learn to love, cope and risk over the course of many decades. Luba Mason and Caesar Samayoa are quite endearing as the two California residents whose lives overlap. They give remarkable performances mainly appearing alone on stage telling and singing their stories. Cudos to librettist Ellen Fitzhugh and composer Michael John LaChiusa for bucking the trend and giving us a deep but small-scale musical revealing two lives through variously well-chosen experiences which add up to lives well lived. Long after you see it, it you will recall incidents that Lillian and Carlos recount. This may be the result of the fact that Los Otros is based on real people and true life experiences. [more]

Dracula (Classic Stage Company)

February 24, 2020

As the centerpiece of its spring season, Classic Stage Company is presenting a repertory of adaptations of two legendary Gothic horror stories: Bram Stoker’s "Dracula" and Mary Shelley’s "Frankenstein" in new stage versions. Kate Hamill, go-to playwright for adaptations of 19th century literature, has given her take on "Dracula" a delightful comic slant. The sexism in the novel has been diluted by making this a feminist revenge fantasy. Turning Doctor Van Helsing, vampire hunter, and Renfield (under the sway of the vampire) into women changes the dynamic quite a bit giving the play a modern viewpoint. Director Sarna Lapine, who has worked with Hamill before on her "Little Women" and "The Scarlet Letter" adaptations, keeps the pace brisk and the humor buoyant as the women are given the best of the story. [more]

Frankenstein (Classic Stage Company)

February 18, 2020

If it sounds challenging to do a two-performer version of "Frankenstein," it proves just that in the current production at the CSC, being performed in repertory with a new stage version of "Dracula." As adapted by Tristan Bernays from the novel by Mary Shelley, the first half-hour of the 80-minute show is more like performance art than a play, as very few words are spoken. During the first part of the play, there are more grunts and groans than there is anything resembling a script. [more]

Ain’t No Mo’

April 14, 2019

Delving into black life and attitudes now, the play is hilarious - but not laugh-out-loud funny. Unfortunately, in Stevie Walker-Webb’s fine production at The Public’s LuEsther Theater, the sketches go on too, long, way past their due date and long after we have gotten the point of the satire. Of the talented cast of six African American actors, five are all in the majority of the scenes while playwright Cooper appears in three solo sketches. [more]

Carmen Jones

July 1, 2018

Unlike the musicals "Rent" (an update on Puccini’s "La Boheme"), and "Miss Saigon' (inspired by Puccini’s "Madame Butterfly") both of which had all new music by other composers for their contemporary stories, "Carmen Jones" uses the original Bizet score. However, it is not simply an English translation. Hammerstein has written all new lyrics to place the story in a W.W. II Southern community (possibly North Carolina) and with the characters ending up in Chicago for the denouement. While "Carmen Jones" was a smash hit originally running for 503 performances at the Broadway Theatre during the war years, some like then critic James Baldwin found the dialect that Hammerstein had used for his African-American characters both embarrassing and demeaning, and the show has not had a New York revival until now. Notwithstanding, the first London production in 1991-92 was also a tremendous success at the Old Vic Theatre with a mix of both opera and theater stars in the cast. [more]

The 25th Annual Putnam County Spelling Bee

May 13, 2016

Director Dev Bondarin cleverly enlisted scenic designer Tim McMath to transform the APAC’s theater into a high school gymnasium, complete with posters (“No Bullying Allowed,” “Today is a great day to learn something new,”) banners (“Go Cougars,”) and the kind of simple platform that would be at home in any gym. Bondarin also gifted this production with an air of immediacy and an unrelenting up-tempo. [more]