News Ticker

Bedlam

Uncle Romeo Vanya Juliet

September 30, 2018

Previous experiments from this adventurous theater group helmed by artistic director Eric Tucker include two versions of Twelfth Night performed in repertory, Hamlet and Saint Joan performed with casts of only four actors, and an updated Pygmalion which was double cast in its smaller roles. In "Uncle Romeo Vanya Juliet," Tucker has tried something new: a mashup of both Anton Chekhov’s "Uncle Vanya" and Williams Shakespeare’s "Romeo and Juliet," with scenes from the two alternating. The result is not confusing, but irritating and irrelevant, with neither play gaining from the combination. The advertisement for this show reads “5 actors, 2 plays, 1 performance,” but to what point? [more]

Bedlam’s Pygmalion

April 4, 2018

Scenic designer John McDermott has turned the black box space at the Sheen Center into an intimate amphitheater with the audience sitting around three sides of Higgins’ laboratory/study with no viewer more than four rows from the action. When Eliza arrives to arrange for lessons on her small income, we discover what we already suspected: this Eliza has been born in India and she is prone to speak in Hindi when she gets excited, just like her father Alfred Doolittle does when he follows her to Wimpole Street to see what he can get out of her good fortune - when she sends for her things but not her clothes. This adds a new, contemporary level to the play: Eliza is an immigrant rather than an East End cockney which contributes to the play’s current relevance. [more]

Pride and Prejudice

November 27, 2017

While this is not a Bedlam production as was Hamill’s hugely successful stage version of Austen’s second published novel, "Sense and Sensibility," director Amanda Dehnert has staged the play in their inimitable style for this co-production of Primary Stages and Hudson Valley Shakespeare Festival and has created a clever 19th century entertainment with a decidedly 21st century sensibility. The versatile Hamill has also given herself the plum role of Elizabeth Bennet, here known as Lizzy. [more]

Peter Pan (Bedlam)

November 25, 2017

Such changes as Captain Hook being a woman or Tinker Bell speaking French are neither explained nor meaningful, while some of the doubling simply makes the play hard to follow as the characters are not listed in the programs which are given out after the performance. A voice-over which appears to read stage directions from the original is both intrusive and inconsistent: why some characters but not others? There is a dark psychological story hidden in Barrie’s tale of a boy who refuses to grow up but this isn’t it. Whereas the original play is joyful, Bedlam’s Peter Pan is a glum affair in which no one seems to be having a very good time. Where is the Bedlam which brought such purposeful insight and visual dazzle to its previous work? The actors, mostly playing children, try hard but fail to bring the work to life. [more]

Dead Dog Park

March 3, 2016

At the onset of the production, each cast member is introduced by walking onto stage one by one. Starring intently out into the audience, there is a general sense of unrest to be found behind the eyes of each performer. The house lights of the theater are still on, and the piercing gazes coming from the actors scattered across the stage immediately destroys any notion of a fourth wall. The fourth wall, the theatrical device that the audience can usually hide safely behind, is taken away from the audience before the production even begins. There is no question: from the time the very first actor takes the stage, it is established that the audience is just as responsible for the events of Barry Malawer’s "Dead Dog Park" as any one of the fictional characters in the story [more]

New York Animals

December 8, 2015

The new musical is similar to Sater’s "Spring Awakening" in that it takes a group of people in a specific historic time and place (here New York, circa 1995) and adds music between the scenes which is in a different style from the play. It also resembles Bacharach’s "Promises Promises" in depicting a series of New York types at work and play. While the Bacharach/Sater score is sumptuously sung by an on-stage band of five led by impressive lead vocalist Jo Lampert, Sater’s book in which we meet various Manhattan denizens whose lives intersect in the course of one day feels dated in that we have met these people before and the problems of the characters seem trivial compared to the problems of today. [more]

A Midsummer Night’s Dream – Pearl Theatre

September 29, 2015

If you thought Bedlam’s artistic director Eric Tucker had created physical productions for his acclaimed acting troupe in the past, think again. His "A Midsummer Night Dream," seen this summer at the Hudson Valley Shakespeare Festival and now in residence at the Pearl Theatre, gives the actors a workout from beginning to end. Whether all audiences will go along with it – it is tiring for both performers and viewers – is a question, but like watching a world-class circus or ballet troupe, you know at the end of the evening that you have seen an extraordinary imagination at work. Tucker just expects everyone to go the extra mile. This is not a "Midsummer" for people who have never seen the play before, but one for whom the traditional interpretation no longer has anything to offer. [more]