Fan Zhang

The Jerusalem Syndrome: A Musical Comedy of Biblical Proportions

December 4, 2023

"The Jerusalem Syndrome" is a pleasant new musical comedy with some fine clever songs and good comic moments. However, Don Stephenson’s production does not take the farcical elements far enough nor does he allow the cast to really have fun with their wacky roles. Playing this material mainly straight undercuts the inherent fun in the premise and plot as the Jerusalem syndrome is ripe for satire. [more]

A Kid Like Rishi

June 4, 2022

Origin Theatre Company’s stark production of Kees Roorda’s A Kid Like Rishi is a totally involving Rashomon-like take on a real-life tragedy: In November of 2012, 17-year-old Rishi Chandrikasing, a young man of Indian descent, was shot and killed at a train station in the Hague by a policeman. Was it a case of racial profiling? A justified shooting? Accidental? In the English translation by Tom Johnston, Roorda thoroughly examines the event through the testimony of twenty or so witnesses all played by three disparate, but complementary actors: Sung Yun Cho, Atandwa Kani and Kaili Vernoff, all three quietly intense. The cell theatre’s well-known flexibility was put to good use by the scenic designer Guy de Lancey who placed the audience on four sides of a long wooden table around and upon which the actors performed Koorda’s sad docudrama. [more]

Suicide Forest

March 6, 2020

This illustrates the biggest problem with "Suicide Forest": it takes on too many issues, jumping from social to sexual to mythological to intimate family subjects. Making the play even more difficult to understand is that it is performed in both Japanese and English. In addition there is some confusing cross-ressing. "Suicide Forest" is alternately funny, disgusting and moving, making it too often a tiring show to sit through despite its wealth of social commentary. The director Aya Ogawa kept the show rolling along but couldn’t make all the parts gel. [more]

Our Dear Dead Drug Lord

December 12, 2019

Alyssa May Gold, Rebecca Jimenez, Carmen Berkeley and Malika Samuel in a scene from Alexis [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 Trial of the Catonsville Nine

February 14, 2019

The 1970 play was originally adapted by playwright Saul Levitt (who previously turned the Pulitzer Prize winning novel "Andersonville" into a successful trial play) from Berrigan’s free verse version based exclusively on the trial transcript. Not seen in New York in 30 years, "The Trial of the Catonsville Nine" has been reimagined in a new version making use of additional sources by Jack Cummings III, artistic director of the innovative Transport Group theater company. A powerful experience, the revival proves to be a provocative investigation of what a citizen should do when he or she feels that the government is engaged in immoral actions. [more]

Behind the Sheet

January 22, 2019

Obviously, this is a play for which any sort of a happy ending will be deeply compromised, but what Simpson does so beautifully is show us how these women overcome their suspicions and envy to find support in one another. It’s tempting for playwrights to work toward such an end by wallowing in sentimentality. However, it never seems that Simpson, Robert or the talented women portraying these characters are pulling frantically at our heartstrings. The plot unfolds simply and satisfyingly, with the characters’ behavior always plausible and unforced. Surprising moments of humor serve as grace notes to an otherwise somber story. [more]

Scissoring

June 12, 2018

In the African-American Abigail, Ms. Quintana creates a complex protagonist who is sympathetic, exasperating and engaging. She is fascinated by the journalist Lorena Hickok who had a storied closeness with Eleanor Roosevelt and they appear in the play as figments of Abigail’s imagination as does former Pope Benedict. These fanciful interludes are skillfully woven into the central narrative that focuses on the conflicts of being gay in the contemporary United States with the actions taking place during the school year of 2017 - 2018. [more]

Platonov, or A Play with No Name

February 20, 2018

Director Jessica Burr’s fast-paced yet thoughtful staging includes over-lapping dialogue, rapid entrances and exits all over the space and striking visual flourishes. Ms. Burr’s tremendous grasp of stagecraft markedly benefits the play’s morose and draggier second half which contrasts with the frothier first part. The performances are uniformly delightful. [more]

Mallorca

June 10, 2015

A simple message is at the center of Sheldon Bull’s new play" Mallorca." As timeless as the theme may be, this doesn’t necessarily mean it is self-evident. Surrounding the dysfunctional friendship of four men, in some way every character in this play has left an important aspect of his life unattended. [more]