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Carol Rosegg

One of the leading show photographers in New York. http://www.carolrosegg.com/

One Discordant Violin

November 6, 2019

What this team of artists has created is a serious piece of storytelling that is also a glorious treat for the eyes and ears. If you’ve figured that the show will just be a guy narrating a short story while another guy plays violin, you’re certain to be pleasantly surprised. [more]

An Enchanted April

November 4, 2019

The enduring resonance of its source material is evident in "An Enchanted April" during this uneven stage musical adaptation. Lasting two hours and 45 minutes with an intermission, its initial frothiness gradually fizzles. The bright score is excessive, the solid book rambles, and the production is more dutiful than inspired. However, the performances are engaging, and the piece’s emotional power is palpable. The show was originally presented by the Utah Lyric Opera and this New York City premiere demonstrates its potential. [more]

A Woman of the World

November 3, 2019

Kathleen Chalfant adds another feather to her cap as Emily Dickinson’s posthumous editor Mabel Loomis Todd in the world premiere of Rebecca Gilman’s new one-woman play, "A Woman of the World," presented by The Acting Company in association with Miranda Theatre Company at 59E59 Theaters. Staged by Miranda’s artistic director Valentina Fratti with elegant assurance, Chalfant is both fascinating and seductive as this real life woman who in the 1880’s and 1890’s scandalized conventional Amherst, Massachusetts, with her liberated and bohemian behavior long before such goings on became acceptable for women – or men. [more]

Is This a Room

October 25, 2019

The performances as well as the dialogue are cool and unemotional as you might expect from four professionals used to doing their jobs, until about three quarters of the way through when Winner confesses to having mailed out the document that they have been asking her about after admitting that she had printed it out to read it. From then on for the last 15 minutes, the tension rises as it become obvious that Winner will not be allowed to go home. [more]

Molly Sweeney

October 24, 2019

As is Mr. Friel’s The Faith Healer, Molly Sweeney is a monologue play. Here, instead of being separated in individual acts, the three characters appear on stage together without interacting, and speak alternately. It’s certainly a viable format and Mr. Friel gives us a gorgeous cascade of memories, biographical details, differing points of view and suspense. However, as beautiful as these reveries may be, there’s too much of them and the play’s impact is diluted. Lasting two and a half hours and comprised of two acts with an intermission, the slender plot is embellished with the leisure of a literary work rather than a taut stage play.  Still, by its end, one is caught up by the characters and their fates. The arguable structural deficiencies are compensated for by the faultless presentation. [more]

The White Chip

October 21, 2019

Written by Sean Daniels, "The White Chip" is reportedly an autobiographical play, directed with an earnest finesse by Sheryl Kaller who sometimes has difficulty keeping her three different performers in character, in terms of whom they represent. If one has difficulty following the many tangents, Kaller has to be held principally responsible for that. [more]

Dublin Carol

October 18, 2019

Bearded, bald and utilizing a pronounced Irish accent, the physically imposing Jeffrey Bean is towering as John. The beaming Mr. Bean’s delightful bonhomie gives way to harrowing anguish as he conveys John’s dark sensibility while consuming more and more whiskey, shambling about and later coping with the bender’s aftereffects. Bean’s everyman presence endows his performance with the dimension of being a stand in for all self-pitying delinquent fathers. [more]

Forbidden Broadway: The Next Generation

October 17, 2019

This is the latest edition of creator, writer and director Gerard Alessandrini’s enduring musical spoof skewering present and past NYC theater that he inaugurated- in 1982 and has had over 20 incarnations. Mr. Alessandrini’s erudite, affectionate and acerbic script once again lambasts Broadway while lovingly celebrating its history during its 20 numbers. “Theater isn’t art, unless it hurts.” It’s that aching sense of the collectively treasured memorable greatness of Broadway clashing with its mercenary concerns that enables each version of the show to resonate while entertaining. Plus, it’s very funny and offers a showcase for talented malleable performers. [more]

Caesar and Cleopatra

October 7, 2019

When the Gingold Theatrical Group’s revival of Bernard Shaw’s epic "Caesar and Cleopatra" begins, the characters are wearing white contemporary clothes and sitting on what looks like an excavation site which might give one pause. Like David Staller’s revival of "Heartbreak House" last year, his Caesar and Cleopatra tries to give this 1898 play a more contemporary relevance, but unlike Heartbreak House which pointlessly updated that play to W.W. II rather than the usual W.W. I setting, this modern approach works extremely well and proves to be quite charming. [more]

Kingfishers Catch Fire

October 3, 2019

It’s 1948 and we’re in an Italian prison where “The Beast of Rome,” German SS Colonel Herbert Kappler (1907-1978) is serving a life sentence for war crimes. Kappler was the Chief of Police of occupied Rome and was responsible for the deportation of Jews to concentration camps as well as ordering massacres of civilians. He is visited by his nemesis Monsignor Hugh O'Flaherty (1898-1963). “The Scarlet Pimpernel of the Vatican” was the nickname of this Irish prelate who as a Italian resistance figure saved the lives of over 6000 Allied soldiers and Jews during W.W. II. In real life, O'Flaherty did visit Kappler out of a quest of instigating redemption in the Nazi, and a complex friendship evolved. [more]

Fern Hill

September 20, 2019

Tucker’s dialogue is breezy and amusing, and it’s fun to see these talented actors—all mainstays of the New York stage—being playful together. Together, they make interesting stuff out of the material they’ve been given, and they are all highly watchable. But would the play seem more fulfilling and important if there were more fully developed personal and interpersonal conflicts? [more]

Only Yesterday

September 16, 2019

As John, Christopher Sears is an enjoyable pill, perfectly offset by Tommy Crawford's Paul whose amiable placidity is almost Buddha-like. More importantly, both actors have impressive musical chops, which wonderfully serves Stevens' truncated overview of Paul and John's tuneful reminiscing about their musical influences: Chuck Berry, Bobby Freeman, Gene Vincent. Sears even has the opportunity to do a bit of Elvis Presley hip swiveling that feels absolutely perfect in its oh-so-British imperfection. [more]

Summer Shorts 2019: 13th Annual Festival of New American Short Plays: Series B

August 5, 2019

Neil LaBute’s “Appomattox” is the most substantial of the three plays and deals with a topic new to his work. Two long-time friends, Frank, black, and Joe, white, are having a picnic in the park without their wives where they get to throw around a football. Joe tells Frank about a story he read in the newspaper that the freshmen at Georgetown University have decided to pay an annual reparation to the families of slaves who were sold off by the college centuries before as collateral to keep the school going. He is impressed that the $27.20 will be annually added to their tuition. For Frank, this is nothing but a symbolic gesture. He would like to see the figure sting a little for 400 years of slavery. [more]

Summer Shorts 2019: 13th Annual Festival of New American Short Plays: Series A

August 3, 2019

Series A of this year’s Summer Shorts: 13th Festival of New American Short Plays is unified around the theme of death and dying and how it affects the living. Lest you think that this sounds morbid, the three provocative one-act plays that make up this first program are so beautifully handled that this is a superior theatrical evening in three totally different styles. Unlike many evenings of one acts, the productions of all three are worth of your attention and could not be bettered. [more]

Little Gem

August 2, 2019

Ms. Murphy’s writing is a rich amalgam of biographical data, pivotal incidents and humane observations. The monologue structure has the three characters alternately expressing themselves in the same recurring order with often all three on stage but not interacting with each other. Through this theatrical device, Murphy enacts her eventful scenario. At 100 minutes without an intermission, it does lag, particularly the introductory portions which too leisurely introduce the characters. However, Murphy does create three zesty roles. [more]

Two’s a Crowd

August 2, 2019

Co-written by and starring Rita Rudner (who is not only a playwright and performer but also an author, film writer, producer and director, with many TV appearances to her credit), "Two’s a Crowd" suggests that it’s creator has run out of original ideas and is recycling old ones--not only others, but her own. It really lands with a thud, which also may have a lot to do with trying to present it as a musical. [more]

Barabbas

July 3, 2019

While Will T.F. Carter’s "Barabbas" is very outspoken on the topic of political corruption in Peru, the play is dramatically weak as so much of it is exposition. In each scene we learn a little bit more about the men’s lives, but little that is new happens in the play’s 90 minutes. The tepid direction by Eduardo Machado gives us too much time to consider the play’s deficiencies and makes the play seem longer than it is. Carter’s anger at what is going on in Peru is commendable, but Barabbas does not utilize that indignation except on an intellectual basis. [more]

Dropping Gumballs on Luke Wilson

June 24, 2019

A decade has passed since the much-criticized AT&T vs. Verizon commercials starring Luke Wilson took to the airwaves, but playwright Rob Ackerman has chosen to bubble up their essence into his whimsical, off-the-wall new play, "Dropping Gumballs on Luke Wilson," helmed by Theresa Rebeck in her New York directorial debut. [more]

Handbagged

June 22, 2019

Although director Indhu Rubasingham’s production is engrossing and entertaining, this talky and dense play may be difficult to follow for Americans who either do not know or have forgotten the details of Thatcher’s 11 year career as the first woman British prime minster and the longest serving P.M. of the 20th century. Among characters depicted by the male actors whom Americans may have trouble placing are Kenneth Kaunda, Neil Kinnock, Michael Shay, Kenneth Clarke, Arthur Scargil, Peter Carrington and Michael Heseltine. Many of these men were Thatcher’s cabinet ministers who are no longer on the political scene. However, with two actresses playing each of the women in both younger and older incarnation, it is quite remarkable how much they reflect the real life people they play. [more]

Julie Madly Deeply

June 19, 2019

Andrews’ worldwide success with the films "The Sound of Music" and "Mary Poppins" is well represented here, as is the Broadway musical that established her in the first place, "My Fair Lady," even if "The Boyfriend" preceded it. The current run of "Julie Madly Deeply" at 59E59 Theaters follows its playing first in London’s West End and then in Toronto. It was written by Young, with contributions from Russell Lucas, who has also directed the show in a full-steam-ahead mode. [more]

Square Go

June 16, 2019

Scottish playwrights Kieran Hurley and Gary McNair explore the murky pre-adult domain with candor and humor in "Square Go," an appealing two-hander directed by Finn Den Hertog and featuring two fully adult actors, Daniel Portman and Gavin Jon Wright, portraying—respectively—Max and Stevie, a pair of  13-year-old besties who seem to transform, regularly, into each other’s biggest enemy. There are hilarious moments in the play, but Hurley and McNair don’t treat the characters in a condescending way. [more]

Midnight Street

June 10, 2019

Cohen is clearly an intelligent, well-read man, familiar with the twists and turns of different periods and styles.  "Midnight Street" is chock full of ideas, poetic meanderings and some worthwhile melodies but just doesn’t add up.  His direction can’t overcome the pretentious language and heavy-handed symbolism.  Only a Lotte Lenya or, perhaps, a Patti LuPone might have given Mr. Cohen’s songs the right gravity, not to mention finding sense where none exists. [more]

Public Servant

June 7, 2019

Bekah Brunstetter’s new play, "Public Servant," has its heart in the right place. It shares with The Cake, seen earlier this year at Manhattan Theatre Club, the first part of a trilogy with the new play, a similar theme: private issues of public figures, with both plays set in North Carolina where the author hails from. Like Della in "The Cake," Ed in "Public Servant" is a well-meaning man whose personal beliefs do not always agree with all members of the community - including his own college-age daughter. Unfortunately, "Public Servant" has many of the same problems and drawbacks that marred "The Cake." [more]

Mac Beth

May 29, 2019

Schmidt’s streamlined adaptation of Shakespeare’s Scottish tragedy is played by a cast of seven schoolgirls who meet in an abandoned urban field after school without any set up other than that they throw down their book bags before launching into the first scene. Designed by Jessica Pabst, their school uniforms made up of cape with hood, a blazer, a skirt, and tie are made of Scottish tartan which is appropriate for this play. Every prop in the show comes from the backpacks and purses they carry with them. The girls perform the play without reading from the text as though they have studied it in school and are thoroughly versed in it. Once they enter the scene, the girls never exit but sit on the sidelines watching for the rest of the play. [more]

Enter Laughing the Musical

May 27, 2019

As David, Chris Dwan does not make one forget the inimitable Grisetti who spun every moment into a comic turn. However, Dwan is charming as the undaunted hero who must deal with problems behind his ken but always comes up with a possible solution even if it doesn’t work out. David Schramm’s alcoholic and hammy Harrison Marlowe is not quite as clipped as that of the late George S. Irving whose signature role this became but his sarcasm and slow burns are still entertaining. Though Farah Alvin’s Angela Marlowe is not as affected as her predecessor as the predatory performer, she still is delicious as an actress who falls in love with all of her co-stars. [more]

Posting Letters to the Moon

May 21, 2019

The epistolary "Posting Letters to the Moon" may, on the face of it, make one think of A. R. Gurney’s "Love Letters" or Helene Hanff’s "84 Charing Cross Road. "But unlike those two memorable plays, PLTTM as “compiled” by Lucy Fleming, whose mother was the British actress Celia Johnson and whose father Peter Fleming was a travel writer--as well as the older brother of James Bond creator, Ian Fleming--never really tells a story nor conveys what her parents’ relationship was like. [more]

The Plough and the Stars

May 7, 2019

The Irish Repertory Theatre ends its thirtieth season by going back to the beginning, with a sturdy revival of Sean O'Casey's "The Plough and the Stars." An historical prequel to the other two plays in O'Casey's Dublin Trilogy, it was also the Irish Rep's inaugural production, a daring choice that essentially served as an artistic mission statement, signalling a commitment not to shy away from Ireland's ever-contested past. [more]

Fruiting Bodies

May 1, 2019

With "Bodies," playwright Sam Chanse attempts to explore the realities of Japanese-American culture in the 21st century, but gets lost in the process. Bodies is at its core an exploration of familial ties and meaningful human connections, as is made clear by the time it reaches its multiple emotional climaxes. Its monologues about mushrooms and self-worth suggest a more ambitious artistic treatise, but ultimately weaken those other core themes. [more]

Then They Forgot About the Rest

April 23, 2019

Playwright Georgina Escobar presents an exuberant hodgepodge of sci-fi elements and satirical corporate bits with a feminist slant. Ms. Escobar’s punchy pseudo-scientific dialogue carries her choppy scenario with its shades of "Eternal Sunshine of the Spotless Mind" to sustaining the mildly entertaining 80 minutes. Escobar has a command of language, sprinkling catchphrases that land throughout. Early onset, end of days, extreme memory vetting, protein inhibitor and Petro Corp all get a lot of mileage. It doesn’t all gel, vagueness abounds but there’s spirited integrity. “…I’m asking improbable questions seeking impossible answers,” Escobar states in her program notes. [more]

Juno and the Paycock

April 12, 2019

From this group of familiar faces, O'Reilly and Keating are particularly strong in their second go-around, finding notes in Jack and Joxer's codependent relationship that are both hilarious and hideous. With his almost sneering delivery of Joxer's obsequious and vowel-rich responses ("it's a darlin' funeral, a daarlin' funeral"), Keating's performance is especially brilliant, pitched just before the point when servility turns into hate. As for Jack, O'Reilly brushes aside his litany of faults to make him a first-rate charmer, capable of snatching a smile from Juno even after he's brought the overburdened woman to her wit's end. [more]

Miracle in Rwanda

April 11, 2019

The one-woman show "Miracle in Rwanda"—starring Malaika Uwamahoro and directed by George Drance—relates the true-life experiences of Immaculée Ilibagiza. As a young woman, she survived the 1994 Genocide against the Tutsi in Rwanda by hiding for more than three months in a 3x4 foot bathroom along with five—and, eventually, seven—other human beings: all women and girls. The play uses the tag line “An Inspirational True Story of Hope and Forgiveness,” but how much inspiration can be gleaned from such a horrific story? [more]

Do You Feel Anger?

April 7, 2019

In Mara Nelson-Greenberg’s new play, "Do You Feel Anger?," which had its world premiere at the 2018 Humana Festival of New American Plays at Actors Theatre of Louisville, she has attempted to write a Theater of the Absurd dark comedy about sexism in the workplace. Starting out offbeat and humorous, it quickly devolves into repeating itself endlessly without enough new material to keep us amused or shocked. In the Vineyard Theatre production, director Margot Bordelon and the high powered cast of seven are fully in tune with the author’s sensibility. Unfortunately, there are not enough surprises in this schematic play to keep us interested although the subject matter is eminently topical. [more]

The White Devil

April 5, 2019

Not seen in New York since 1965, John Webster’s Jacobean revenge play, "The White Devil," has been given a juicy, vigorous modern dress production by Red Bull Theater which specializes in Elizabethan and post-Shakespearean dramas. While not as great as Webster’s "The Duchess of Malfi" or Shakespeare’s psychological dramas, this second-rung tragedy from 1612 has been directed by Louisa Proske with live video and contemporary trappings in a style that is always riveting, always engrossing, particularly notable for a play that will be unfamiliar to most theatergoers. [more]
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