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Takeshi Kata

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]

Office Hour

November 20, 2017

Not only is Julia Cho’s "Office Hour" rivetingly acted by Sue Jean Kim and Ki Hong Lee, it is one of the few plays in recent memory to tackle a major social problem and offer an explanation or answer to society’s needs. Under Neel Keller’s astute direction and the production team’s superb physical production, "Office Hour" is both an important play and a compelling event in the theater. You may not agree with Cho’s conclusions but you will not be bored for a moment. [more]

Derren Brown: Secret

May 24, 2017

It quickly becomes apparent that Brown is a master at reading body language--no less than facial and vocal expressions--to manipulate the many audience-members who participate and to read their inner thoughts. Brown’s patter is also built on an almost glib sort of false modesty, such as his saying, near the end, “This only works because we are story-focusing creatures.” Any given interaction doesn’t “work” because we’re focusing on the “story,” but because he knows just exactly how to get us all to see only what he wants us to. [more]

The Profane

April 10, 2017

Playwright Zayd Dohrn has a facility for setups, punch lines and zingers that might play well as an HBO situation comedy attempting to mix humor with seriousness. As a theater piece, his premise has potential but his execution is deficient. [more]

Man from Nebraska

February 23, 2017

Birney seems to have cornered the market on sensitive, ordinary guys and his performance is similar to his awarding-winning “Erik” in The Humans. However, here he is extremely sympathetic and heartbreaking while in the earlier play he was revealed to be complicit in criminal behavior. Birney’s work is so subtle and low-key that he suggests worlds of unspoken feelings, which is quite a remarkable feat. O’Toole, who recently appeared on the New York stage in "Hamlet in Bed" in 2015 and "Southern Comfort" in 2016, just keeps getting better and better, and her emotional collapse as Nancy is extremely well delineated. As their daughter Ashley, Boras beautifully captures the whiney demands of the adult child with a black and white view of the world who has never seen her parents as separate people with needs of their own. [more]

Gloria

June 27, 2015

His new play "Gloria" goes in another direction, a scathing satire of the media (magazine work, book publishing and television development) as well as the public’s frenzy for the details of high profile news stories. Evan Cabnet who has also piloted new plays by Theresa Rebeck and Christopher Shinn, has cast his crackerjack production with some astute newcomers to local stages (Catherine Combs, Jennifer Kim, and Ryan Spahn) as well as some accomplished New York veterans (Kyle Beltran, Jeanine Serralles, and Micahel Crane) in this always absorbing office drama. The cast is articulate and smooth-tongued as they should be playing people in the media. [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]