Montana Levi Blanco

Montag

October 24, 2022

While director Dustin Wills has given 'Montag" a superb production, the meaning and message of Kate Tarker’s play remains obscure. Demonstrating female empowerment alone is not enough if the details remain murky and confusing. If the play has any geopolitical message about American-German-Turkish relations, it is entirely lost in the proceedings. The fact that both women are now single parents is not given much significance in the play. One gets the feeling that much of the play has a private meaning for the author who grew up in Germany on the outskirts of a U.S. military community. For those who do not know German, “Montag” is the word for Monday, the day when Clifford Andrews went missing and the women barricaded themselves in the apartment. [more]

A Strange Loop

May 5, 2022

Deliriously and explicitly profane, Michael R. Jackson’s Pulitzer Prize winning musical, "A Strange Loop" has—unbelievably—made it to Broadway, produced by Playwrights Horizons, Page 73 and the Woolly Mammoth Theatre Company. Jackson’s explicit portrait of a lost soul’s salty journey is alternately stunning and amusing, appealing and appalling, told at a breakneck pace through his book, lyrics and music. It’s a rare, if dispiriting, portrait of a gay man who isn’t a paragon, a man who isn’t conventionally handsome, successful or rich. [more]

The Skin of Our Teeth

May 4, 2022

You would think that at the tail end of a pandemic Thornton Wilder’s 1943 Pulitzer Prize-winning "The Skin of Our Teeth" would be the perfect play for our moment. This experimental play which pays tribute to the resilience of the human race offers hope in time of adversity. The experimental nature of the play uses techniques promulgated by James Joyce, Luigi Pirandello and Bertolt Brecht, none of which are so new or unfamiliar anymore: actors addressing the audience directly and stepping out of character, anachronistic events or references, etc. There are allusions to the Old and New Testament, Greek Mythology and Shakespeare. Writing in the middle of World War II, Wilder presciently made use of such themes as the problems of climate change, refugees, dysfunctional marriages, nepotism and political corruption, which remain at the forefront today. Even after 80 years, Wilder’s play seems eternally forward-looking, eternally novel, and continues to be an important piece of American theater. [more]

sandblasted

February 27, 2022

A woman’s arm falls off soon into playwright Charly Evon Simpson’s engrossing allegory, "sandblasted." Ms. Simpson’s tone beautifully mixes the comic with the wistful, her dialogue is glorious, and her characters are appealing. Structured as 18 punchy short time-shifting scenes, with duologues, trialogues and monologues, the play builds to a stirring conclusion. Simpson quotes Audre Lorde, Toni Morrison and Samuel Beckett in stage notes, their aesthetic influence is evident. The setting is a sandy landscape, the time is “now. after. future.” [more]

Selling Kabul

December 6, 2021

Will a former Afghani U.S. Armed Forces interpreter get himself and his family out of the country before he’s captured by the Taliban in 2013? This is the crux of playwright Sylvia Khoury’s gripping, thoughtful and suspenseful drama, "Selling Kabul." In a straight through 100 minutes, Ms. Khoury crafts an accessible overview of that conflict, sets up a compelling story and employs a classic plot device. Khoury’s smooth passionate dialogue imparts exposition and biographical details while advancing action with technical accomplishment. [more]

The Watering Hole

July 2, 2021

There are installations, written words, video projections, and recorded spoken word. One setting is intended as a break area where patrons can dance or play with beachballs. Other interactive projects involve writing answers to questions and pinning them to a piece. To give specific descriptions of these clever inventions would be to spoil surprises. This one is memorable and representative of the exhibition. [more]

Fefu and Her Friends

November 30, 2019

While María Irene Fornés' "Fefu and Her Friends" is considered a feminist statement, in performance the play seems not to be very revealing about women or their positions other than the fact that the cast is entirely female. Set among the very rich in the 1930’s, the play is liberated only to the extent that the women have enough money to do what they wish. With its attractive sets and stylish clothes and the novelty of moving from one set to the other, the play seems to be rather a period piece than a statement of women’s lib. Unlike such all-female plays as Hazel Ellis’ "Women without Men," Clare Boothe’s "The Women" and Jane Chambers’ "Last Summer at Bluefish Cove," "Fefu and Her Friends" does not have a lot to say although it remains entertaining throughout. Of course, it is possible that a women critic might have a very different take on this work. [more]

Ain’t No Mo’

April 14, 2019

Delving into black life and attitudes now, the play is hilarious - but not laugh-out-loud funny. Unfortunately, in Stevie Walker-Webb’s fine production at The Public’s LuEsther Theater, the sketches go on too, long, way past their due date and long after we have gotten the point of the satire. Of the talented cast of six African American actors, five are all in the majority of the scenes while playwright Cooper appears in three solo sketches. [more]

“Daddy”

March 13, 2019

Jeremy O. Harris’ “Daddy” is the work of a unique voice, a little self-indulgent in its length, and a little underwritten in its characterizations. It attempts to shock with its use of nudity and sadomasochistic sex, but nothing we have not seen before. The play’s message is not entirely clear but the play is provocative nevertheless. It is a work for the mature playgoer who wants to see a new direction that our theater is heading. [more]

Fabulation, or The Re-Education of Undine

December 20, 2018

A hard-edged picaresque fable is what playwright Lynn Nottage came up with in her enjoyable, "Fabulation, or The Re-Education of Undine" that premiered in 2004. A two-time Pulitzer-Prize winner for Drama, Ms. Nottage is in a lighter mood here but her comic sequences have a bracing tone and the dialogue has her customary skillful depth. We’re in the exaggerated territory of "Watermelon Man" and "Bonfire of the Vanities." [more]

The House That Will Not Stand

August 7, 2018

Gardley makes use of a little known piece of American history: while Louisiana was under Spanish and later French rule, it had a three-tiered racial system. Aside from white settlers and black slaves, there was a third class: free women of color (mostly Creoles) could enter into a relationship with white men as common-law wives. Their children could inherit part of their estates. Some of these so-called “colored” women became extremely rich. This system was called plaçage and such women were known as placeés. The lighter the woman’s skin color the higher her social caste. However, when Louisiana was sold to the new United States in 1803, this system was frowned upon and eventually went out of style around 1813 due to legal challenges. [more]

Fairview

June 27, 2018

Jackie Sibblies Drury is a unique new voice in the American theater. Her use of metatheater is all her own. "Fairview" has a great deal to say about race in America and the angle you see things from and she is able to cleverly shift it from scene to scene. However, this new play is a bit too long for its content, with scenes overstaying their welcome. Nevertheless, Drury is a playwright well worth watching. [more]

Is God Is

March 14, 2018

On the basis of “Is God Is,” Aleshea Harris is a new voice in the American theater whose work bears watching in the future. The play is the latest in a long line of revenge stories from the Bible to Quentin Tarantino. The nagging question becomes does Harris have an underlying theme other than the righting of past wrongs by violence. However, Magar’s riveting production never gives the viewer a chance to ponder on this dilemma while the tightly written drama is unfolding before you. While the play has a dark humor throughout, in a parody of the famous Louis Jordan song, it seems to ask the question, “Is God is or is God ain’t?” After witnessing the retribution of the sisters, only the viewer can decide for him or herself. [more]

He Brought Her Heart Back in a Box

February 6, 2018

Whereas Kennedy became famous with plays that use myth, history, surrealism and Theater of the Absurd to tell their stories, this play tells a realistic tale in poetic form, its very brevity belying its depth of feeling. The play incorporates the styles of romantic drama, Elizabethan tragedy, old-fashioned operetta, a murder mystery, and recent history of the not so distant past. Events in the play were suggested by Kennedy’s mother and her own visits to her grandparents in the Jim Crow South. [more]

Pipeline

July 30, 2017

From Dominique Morisseau, the author of the critically acclaimed Skeleton Crew, Detroit ’67 and Sunset Baby, comes another powerfully provocative and riveting, but overwrought, play which investigates black rage, racial stereotyping, and parental mistakes. Just try to take your eyes off the high octane production by Lileana Blain-Cruz, which has been brilliantly cast with its six actors, all but Karen Pittman (the Pulitzer Prize-winning Disgraced) making their Lincoln Center Theater debuts. Morisseau may not have all the answers but she certainly looks at the questions from all angles. The play’s title is a reference to the metaphor for “the school to prison pipeline” that describes the blighted lives of so many ghetto youths who fail before they finish their education and was the topic of Anna Deavere Smith’s "Notes from the Field" seen Off Broadway last fall. [more]

Orange Julius

January 23, 2017

On the one hand, it is a punch in the gut dramatizing the cold hard facts of disintegrating with this disease; on the other, the non-linear time scheme is difficult to follow, offering more questions than it answers. What "Orange Julius" really is could be described more accurately as a screenplay or a teleplay with cuts and fades. There is a powerful work hiding in this material but it still remains unshaped. Under Dustin Wills’ fast-paced direction, Jess Barbagallo, Ruy Iskandar, Irene Sofia Lucio, Stephen Payne and Mary Testa give fine performances despite the fact that the play seems to wander around trying to find its center. [more]

Hamlet (Mobile Unit 2016)

September 24, 2016

The single disadvantage of director Patricia McGregor’s approach is that in cutting so much text, the events of the play seem to occur one on top of each other, making the play a bit melodramatic, and a good deal of character development is sacrificed by the way. However, with dangerous-looking fight direction by Lisa Kopitsky and intriguing movement by Paloma McGregor, this is a "Hamlet" that lives up to its mission to be accessible and entertaining to all, those who know the play well and those seeing it for the first time. [more]