Mary Louise Geiger

Spiritus/Virgil’s Dance

February 20, 2024

It is a rare author indeed that can take uncomfortable material, and by uncomfortable that is, to hear, digest, and process a subject no one likes as a subject of conversation, and then give an audience the opportunity to take away from the experience a profound enlightenment. But when that author is Dael Orlandersmith we have come to expect nothing else. The playwright’s new work, "Spiritus/Virgil’s Dance," is a contemplative meditation on mortality as much as it is an examination of how we choose to pass and live out our days until our own “conclusion.” [more]

Partnership

October 27, 2023

The three plays in the “Meet Miss Baker” Project, "The Price of Thomas Scott" in 2019, "Chains" in 2022 and now "Partnership" in 2023 are quite different. While Partnership is the only one you could call a conventional comedy, and a romantic one at that, it offers the least social commentary of the three. At first seeming to be a study of the Shavian “New Woman,” it ultimately makes little or no statement about women’s roles or rights at the time. Women theatergoers may appreciate a period play which puts the female roles front and center, but this play is ultimately too bland and inoffensive. [more]

Halfway Bitches Go Straight to Heaven

December 17, 2019

Besides Mr. Skittles, there are 18 other characters of different races, ages, genders and sexualities. They’re a cross section of the downtrodden and those involved with aiding them. Ex-convicts, the homeless, an Iraq war veteran, drug addicts, battered women and their children, social workers, staff members, law officers, a trans woman who incites divisiveness, and a wily Catholic priest who once threw a man off the roof of a building are all vividly realized by Mr. Guirgis’ supreme command of dramatic writing. Each one of these many figures are majestically fleshed out, some in great detail. Guirgis goes beyond offering a loving mosaic of character studies by gradually injecting a suspenseful narrative that reaches a bleak yet hopeful conclusion. [more]

Proof of Love

May 24, 2019

Never really losing her cool, Pressley always commands the stage even though scenic designer Alexis Distler has made it difficult by creating a huge private room, beautiful in its understated way in blues and beiges, but difficult for one person to fill the space. Yes, Maurice is presumed to be in his hospital bed on stage right, and Lashonda is on the smartphone, but Pressley must negotiate the entire stage herself. Director Jade King Carroll has found reasons for her to move around from chair to sofa to a chair on the other side of the room, but has not helped much in making the play build an arc. The effective lighting by Mary Louise Geiger subtly shifts from afternoon to evening light without our realizing how much time has passed. [more]

Sakina’s Restaurant

October 31, 2018

In an apparent effort to demonstrate that he’s become one of us, Mandvi arrives in the theater by walking down the central aisle at the Minetta Lane Theatre, wide-eyed, as he peers and takes in the audience, on his way to the stage. And indeed, Azgi’s had at least 20 years to become increasingly assimilated: "Sakina’s Restaurant" was originally presented at the American Place Theatre in 1998. [more]

Conflict

June 30, 2018

With Miles Malleson’s 1925 "Conflict," being given its New York premiere, the Mint has uncovered a brilliant political and social drama which has tremendous relevance for today with its dissection of conservative and liberal points of view. It resembles Shaw and Tom Stoppard in its debate of ideas and Galsworthy and Arthur Miller in its moral integrity. Superbly directed by Jenn Thompson ("Women Without Men") with a crackerjack cast, this is not only one of the Mint’s best offerings, it is also the most satisfying play in town. Framed as both a thriller and a romantic comedy, Conflict is absorbing and exciting theater throughout, the sort of play that has you hanging on every word to see which way it will go. [more]

X: Or, Betty Shabazz V. the Nation

February 20, 2018

Marcus Gardley’s "X: Or, Betty Shabazz V. The Nation" is a powerful indictment of forces within a movement which help to destroy it. Performed by The Acting Company under the direction of Ian Belknap, their artistic director, the play is riveting throughout while it follows its investigation where it may. It also requires a good deal of knowledge of the events of the 1960’s which many contemporary theatergoers may not come equipped to follow it. [more]

Draw the Circle

February 3, 2018

... in Deen’s mad dash to portray Shireern’s elderly Indian father and mother--who live in Connectictut--her girlfriend, Molly, and so many other figures, including even a housecleaner at a Motel 8, where Shireen attempted suicide--he seems to have a different voice and demeanor for every one of them. He even--on his knees and with a little girl’s voice--plays Shireen’s five-year-old niece, Rabia. [more]

Until the Flood

January 19, 2018

Ms. Orlandersmith skillfully organizes the material into short monologues that are revelatory, insightful and often tinged with humor. Visually striking with her animated facial features and flowing dreadlocks, Orlandersmith subtly yet forcefully offers a series of rich characterizations. Varying her vocal inflections and altering her physiognomy she conveys the essence of each individual. It’s a riveting performance of range and depth. [more]

Nat Turner in Jerusalem

October 4, 2016

The playwright sets the action in Turner’s jail cell where he’s chained up, visited by Gray, and overseen by a guard, the night before his execution. Mr. Davis states that this situation is a fabrication inspired by the book. A possibly unreliable account is the source material for this even more fanciful dramatization. Davis even expresses through the mercenary Gray the possibility that his chronicle will be sensationally tailored in order to sell more books. [more]

Dear Elizabeth

December 1, 2015

The great mid-20th century American poets Elizabeth Bishop and Robert Lowell were friends from 1947 until his sudden death 30 years later. As they were usually in different cities and countries (Bishop lived in Brazil for many years while Lowell lived in New York City and Boston), they wrote each other over 450 letters which were published in 2008 as "Words in Air: The Complete Correspondence between Elizabeth Bishop and Robert Lowell." Sarah Ruhl, an adventurous playwright whose plays tend to be very different from each other, has adapted the letters for the stage in a homage to writing and friendship called Dear Elizabeth in which all of the words are that of the poets. Kate Whorskey’s fascinating production for WP Theater (formerly The Women’s Project) has staged the play much in the manner of last year’s revival of A.R. Gurney’s "Love Letters" and also with revolving casts. [more]

Forever

May 13, 2015

The press performance under review left audiences hanging on her every word, as Orlandersmith painted a picture of the challenging and draining relationship she had with her mother, including the arguments, the name-calling, the shame and her mother’s constant need for security and attention. Well-spoken and tuned into her emotions, Orlandersmith has a true ability to connect with a large room, making them feel every emotion and sensation that she was feeling. She didn’t sugarcoat one detail and her authenticity aided in processing each thought and feeling, and ultimately allowed Orlandersmith to rise above her past. [more]