News Ticker

Josh Tyson

American Moor

September 16, 2019

Cobb is titanic in this piece bringing his resonant voice and impressive physical presence to bear on the most famous classic role for a Black actor in the canon as well as his thoughts about race and the theater. His justifiable anger when the director tells an anecdote about a woman who drove across the country in diapers to confront her rival as an example of the effects of jealousy is enough to flay one alive. His analysis of the man Othello and his relationship to the white Venetians is a brilliant explication of both character and society. Cobb’s understandable problem with white directors who want to tell him how to play a Black man exposes race in America from a new point of view. American Moor may make you angry but it is always enlightening and right on target. Although Cobb’s passion gets the better of him, you will never feel that he has gone too far or misrepresented things as they are. [more]

Judas

May 1, 2018

With a contemporary sensibility, Mr. Patrick dramatizes the familiar situations with simplicity, lively dialogue and tasteful irreverence. There is also excessive philosophical speechifying during some long-winded debates but these static Shavian bits are offset by the superior production and strong performances. [more]

Tartuffe

November 1, 2017

Complementing his gorgeous stage pictures, director Craig Smith’s vibrant staging has the actors in constant motion on the small playing area.  The cast precisely paces, dashes and undulates, achieving a propelling pace and focus. Chanting monks roaming through the audience is an eerie highlight.  Slapstick, high comedy, bawdiness and dramatic truth are all vividly rendered by Mr. Smith’s superior sense of stagecraft. [more]

The Resistible Rise of Arturo Ui

October 24, 2016

British author Stephen Sharkey’s new translation is faithful to Brecht, but the Phoenix Theatre Ensemble has fashioned the presentation as an old-time radio show. Brecht was known for his self-conscious style of distancing and alienation, where the audience is made aware that they are watching a play but this additional device is a distraction and not as funny as intended. [more]