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Laura Jellinek

Mary Jane

October 4, 2017

The ambiguities in Mary Jane’s character seem to stem more from the writing than the acting: though her behavior remains dubious or questionable, Mary Jane comes to real life as enacted by Carrie Coon, who was such a memorable Honey in the recent Broadway revival of "Who’s Afraid of Virginia Woolf?" She’s a solid Mary Jane as well, but then, the character and her motives prove harder to pin down. The stalwart New York actress Brenda Wehle is a perfectly believable and no-nonsense Ruthie. The always reliable Liza Colón-Zayas is Alex’s caregiver Sherry, and Danaya Esperanza and Susan Pourfar are persuasive as, respectively Sherry’s niece and another mother with similar challenges. [more]

The Treasurer

September 27, 2017

With her slim physique, flawless diction, melodiously husky voice and imperious bearing, Dunagan is commanding. She conveys the character’s arrogance, selfishness and harrowing mental decline due to dementia with steely flair. She forcefully embodies the archetypal distant mother who damages her children. [more]

Marvin’s Room

July 18, 2017

If you saw the original New York production of "Marvin’s Room," you may find yourself feeling that the play was more effective when it was presented in the far more intimate environment of Playwrights Horizons. The otherwise fine cast--which also includes Luca Padovan as Charlie and Carmen Lacivita and Nedra McClyde in various roles-- simply gets lost in the expansive space of the American Airlines Theatre. [more]

The Antipodes

April 28, 2017

Every new play by Annie Baker is a marvel over the play before. It’s been nothing less than a privilege to accompany her on her journey, as she has been joining ranks with the best American playwrights. Part of what makes Baker the “best,” is that she has her own voice. Whether with "Circle-Mirror Transformation," the marvelous "The Flick," or her latest and current, "The Antipodes," Baker seems to devote a certain amount of attention to group dynamics, which is, after all, the basis of any drama. And how can I have left out reference to John, Baker’s play from last year, which was her first as part of her enrollment with the Signature Theater, and arguably the best of all? [more]

The Light Years

March 16, 2017

Playwrights Hannah Bos and Paul Thureen with developer Oliver Butler, creatively evoke the tragic, nostalgic spirit of Booth Tarkington’s "The Magnificent Ambersons" and the wonderment of the works of humorist Jean Shepherd. The scenario is engaging and the characters are lovingly rendered. [more]

Everybody

March 3, 2017

The original was aimed at an audience that most certainly was illiterate, so that the clever creators used cartoonish, unsubtle characters who spoke in popular jargon, even spouting profanity, which must have tickled the medieval audiences’ sensibilities and kept them following the actors in their juicy parts. Jacobs-Jenkins follows suit, but with his tongue firmly in his cheek, writing his characters, particularly Stuff (played with a no-nonsense, “from the block” insouciance by Lakisha Michelle May), as immediately recognizable twenty-first century caricatures. When cutie pie child Lilyana Tiare Cornell, playing the character Time, spouts the word “shitty,” the audience at the Diamond Stage giggles nervously. [more]

The Wolves

December 9, 2016

The audience sits on either side of the large runway stage that set designer Laura Jellinek has arrestingly fashioned into an indoor soccer field. It’s a green vista of Astro Turf that gives the sense “…that the field goes on forever,” writes playwright Sarah DeLappe in her stage directions. [more]

A Life

October 25, 2016

Pierce coolly addresses the audience while delivering this mundane litany. His superb comic timing, long evident on the television situation comedy "Frasier," is on glorious display here. That quality combined with his dramatic depth and soothingly funny delivery makes this opening sequence mesmerizing. [more]

Small Mouth Sounds

July 27, 2016

Inspired by the playwright’s attending a silent spiritual retreat at an upstate New York institute in the woods, this is an absorbing play which immediately causes the viewers to listen intently as our world is never really silent. In Stowe Nelson’s remarkable soundscape, the play begins with a torrential rain, and then proceeds to a great many sounds we usually take for granted (both performed by the actors and recorded): breathing, laughing, clicking of a pen, sighing, a gong ringing, whispers, giggling, crickets chirping, the crunching of chips, birds, a sip of tea, a sneeze, coughing, a cell phone ringing. As a result of this state of affairs and the fact that the actors (in general) don’t speak, we become attuned to watch the smallest facial expression and other forms of non-verbal communication. [more]

Marjorie Prime

December 16, 2015

Playwright Jordan Harrison is a graduate of the Brown University M.F.A. program and the recipient of several prestigious awards such as a Guggenheim Fellowship and the Kesselring Prize. On a technical level "Marjorie Prime" is expertly constructed and contains serviceable dialogue that propels the plot, but in totality it never rises above the level of an academic contrivance. The premise is a familiar but promising one, but in execution it is flat. The exposition and setup never really become emotionally involving and the closing revelations are consciously sensationalistic. [more]

The Nether

March 2, 2015

Playwright Jennifer Haley describes her work as delving “into ethics in virtual reality and the impact of technology on our human relationships, identity and desire.” On the basis of her New York debut with The Nether, we can expect some truly frightening dramas from her in the future. Even now, The Nether is such an extreme cautionary tale of the future of the Internet, that some may have difficulty sitting through it. [more]

The Village Bike

June 26, 2014

A very visceral play, The Village Bike is not for prudes; on the other hand, it should open a conversation that is long overdue in our theater concerning men and women's sexuality as it is understood today. [more]

The Essential Straight & Narrow

May 26, 2014

Shifting abruptly from flashbacks to a form of the present, we follow Jo, a young woman formerly a folk/country musician and now an actor. Periodically she is shown reading from and trying to memorize a script indicating that she's preparing for a role, seemingly in a television police drama. Much of the action takes place in 1974 in a rundown New Mexico wood-paneled motel room where an estranged trio of country western performers has gathered to launch a reunion tour. [more]