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T. Charles Erickson

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]

Junk

November 22, 2017

The protagonist of "Junk" is one Robert Merkin (Steven Pasquale), whose name alone is reminiscent of the real-life person he represents, Michael Robert Milken, the “Junk Bond King” of the mid 1980’s, who went to jail in 1990, and whose practices led to the world market crash a decade or so ago. “This is a story of kings, or what passes for kings these days,” says Forbes reporter Judy Chen (Teresa Avia Lim), in the play’s opening lines. “….enthroned in sky-high castles and embroiled in battles over, what else? Money.” [more]

Oslo

July 26, 2016

Bartlett Sher complements Rogers by punctuating the play with visual puns that substantially add to the drama and importance of the enfolding events. A dinner party at Mona and Larsen’s home is disturbed by two phone calls, ringing at the same time. Larsen fields a call from Israel and Mona takes a call from the P.L.O. Phone cords or wires are crossed, as Larsen and Mona exchange mouthpieces and try to arrange meetings and facilitate a place and time for the negotiations in Norway. [more]

The Royale

March 27, 2016

The staging is unusual in that no punches are thrown. When the actors are supposed to be delivering their blows, they stamp their feet which is actually more sinister and startling. The cast clap in unison to punctuate various dramatic moments. The ringside bell is live, delineating each of the six scenes, in Matt Hubbs’ sound design. During the fight scenes, the boxers face the audience and we hear what they are thinking moment by moment, rather than see their punches. Nick Vaughan’s set doubles beautifully as gym, boxing ring and locker room. During the first boxing match, ropes on a frame are moved around to give the audience different views of the ring. Austin R. Smith’s subtle lighting helps direct attention to the right spot throughout the play. All of this leads to a remarkable and memorable evening in the theater. [more]

New York Animals

December 8, 2015

The new musical is similar to Sater’s "Spring Awakening" in that it takes a group of people in a specific historic time and place (here New York, circa 1995) and adds music between the scenes which is in a different style from the play. It also resembles Bacharach’s "Promises Promises" in depicting a series of New York types at work and play. While the Bacharach/Sater score is sumptuously sung by an on-stage band of five led by impressive lead vocalist Jo Lampert, Sater’s book in which we meet various Manhattan denizens whose lives intersect in the course of one day feels dated in that we have met these people before and the problems of the characters seem trivial compared to the problems of today. [more]

The Oldest Boy

November 17, 2014

Sarah Ruhl's latest play, The Oldest Boy, having its world premiere at Lincoln Center Theater's Mitzi E. Newhouse, is a magical spiritual investigation into the relationship between teachers and students, and mothers and sons. Based on a true story told to the author by her Tibetan housekeeper, Rebecca Taichman's production uses dance (choreographed by Barney O'Hanlon), ritual and a puppet (designed and directed by Matt Acheson) for three-year-old Tenzin. The play also has the Mother directly address the audience and features breathtaking and colorful lighting effects by Japhy Weideman on Mimi Lien's minimalist but pleasing setting, as well as beautiful Asian costumes by Anita Yavich. [more]