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Stacey Sargeant

for colored girls who have considered suicide/when the rainbow is enuf

April 30, 2022

This Broadway production, a godchild of a recent 2019 production at The Public Theater (directed by Leah C. Gardiner), is directed and choreographed by modern dance luminary Camille A. Brown (who choreographed The Public Theater version, hence the pedigree).  Her take on Shange’s work is more matter of fact and streetwise than previous productions, her choreographic vision adding depth to the playwright’s vernacular, profane expressions of the consciences of a community of hard-pressed women. [more]

Nantucket Sleigh Ride

March 31, 2019

John Guare’s career as a playwright has had three stages. His early plays were examples of Theater of the Absurd with an American accent. Later his plays became more realistic, sometimes based on a true story or historic characters. In his new play "Nantucket Sleigh Ride" now at Lincoln Center Theater’s Mitzi E. Newhouse, he has returned to his absurdist roots with a wild comedy, configured in the form of a memory play by a former playwright which returns him to the summer of 1975. With a cast led by Broadway stars John Larroquette, Will Swenson and Douglas Sills, the play initially has a fascinating premise but goes off the deep end in its second half. Don’t blame the actors who work very hard to try to keep the play on the rails. [more]

Rags Parkland Sings the Songs of the Future 

October 17, 2018

For the first 25 minutes, the bushy red-bearded, receding with flowing hair Mr. Butler appears solo performing a series of his delightful songs. Butler superbly plays the banjo, guitar and harmonica as he conveys a Cat Stevens, Arlo Guthrie and Bob Dylan vibe. Then the ensemble joins him for a serious and light-hearted tuneful enactment. [more]

Homos, Or Everyone in America

November 9, 2016

The pomposity of the Tony Kushner-style title extends to naming its leading characters “The Academic” and “The Writer.” They’re two gay men in their late 20’s and the play charts their meeting, relationship, breakup and aftermath. This is accomplished by a dizzying structure of non-linear, rapid-fire, time shifting brief scenes. This intrusive device undercuts emotional involvement with the couple, as all of the jumping around of the narrative becomes artificial, repetitious and uninvolving. The period covered ranges from 2006 to 2011. [more]