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Lila Neugebauer

Miles for Mary

February 9, 2018

Playwrights Horizons has a real winner with the first entry in its new Redux Series bringing back worthy Off Off Broadway plays for a longer run Off Broadway. First up is "Miles for Mary," a company project from The Mad Ones, a New York City-based troupe dedicated to creating “ensemble-driven highly detailed theatrical experiences that examine and illuminate American nostalgia.” Seen previously at The Bushwick Starr during the 2016-17 season, "Miles for Mary" is a brilliant satire on group dynamics in an ongoing school fund-raising committee told in real time. While hilarity abounds as the committee does its pedantic and minimal work, an inevitable explosion is promised by the end and it is a doozie when it finally occurs. [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]

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]

Signature Plays

May 30, 2016

It’s clear why Edward Albee’s "The Sandbox" (1959), María Irene Fornés’ "Drowning" (1986) and Adrienne Kennedy’s "Funnyhouse of a Negro" (1964) are considered modern absurdist classics. They hew to the territory the truly greats like Samuel Beckett, Eugene Ionesco, the Dadas and Alfred Jarry explored, with Beckett the most influential, particularly in the first two plays, interpreting them with an American spin. If they are not as effective—if they seem somehow clichéd—the playwrights cannot be faulted. The Art World simply moves on. [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]