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Troilus and Cressida

August 12, 2016

While "Troilus and Cressida" is rarely staged, Daniel Sullivan’s production full of bombs and smoke suggests that in our time of endless wars it speaks to us again, and the play’s cynicism also seems to capture the current zeitgeist. It also features memorable performances from John Glover, John Douglas Thompson, Max Casella, Sanjit de Silva, and Alex Breaux, among others. [more]

Crimes and Crimes

August 11, 2016

The August Strindberg Repertory Theatre presents this production. Since 2012, they have produced a number of the author’s works in New York City and for this one it was decided to condense and update it in order bring out its humor. The result is pretty much laugh-free. [more]

Max Chernin on His Solo Debut at Feinstein’s/54 Below and the Impact of “Bright Star”

August 10, 2016

In college, during my senior year, I had an assignment to put together a half hour cabaret. I did that also about being a redhead, so I started there and dug up that old sheet music and changed/added to some of that. I’m covering some iconic gingers in musical theatre as well as some of the social aspects of being a ginger -- some of the things that "South Park" brought up. There’s this episode where they claim that gingers have no souls and make fun of them, so will be referencing and challenging those views. It’ll also be some stories and some of my favorite songs. [more]

Alice in Black and White

August 9, 2016

"Alice in Black and White" is a play-within-a-play. Two parallel stories are told: one of Austen’s life and relationship with Gertrude Tate, her companion for over 40 years; and one in the early 1950’s involving a Staten Island Historical Society receptionist and journalist Oliver Jensen, who later published "The Revolt of the American Woman" (which included Austen photographs) and a Life magazine article on Austen. [more]

Cats

August 9, 2016

The debonair resident of posh St. James, and Gus, the theatre cat, are both played with finesse by Christopher Gurr, whose “Gus the Theatre Cat” who nearly steals the show away from the more famous “Memory,” here sung by an underwhelming, but pretty-voiced Leona Lewis, the British three-time Grammy Award nominee, as the bedraggled, superannuated beauty, Grizabella. Mr. Gurr’s wistful singing and great acting movingly communicate his tale of theatrical greatness and all the actors he had known (most completely forgotten by contemporary audiences). [more]

Paradiso: Chapter 1

August 6, 2016

A new media and sophisticated ticket booking system is brought into play even before the play begins. In order to buy tickets, a theatergoer has to give out his/her cell phone number for text follow-up information as to confirmation of time and the Midtown location. The immersive theater is kept secret until the day of booking the event. The address of where "Paradiso: Chapter 1" is being held is texted only four hours before the participant’s allotted time. [more]

Austin

August 5, 2016

Thomas G. Waites has a long list of major credits that go back to the film "The Warriors" in 1979. As Austin, he gives one of the strangest performances in memory. It’s a monotonously upbeat steamroller turn that recalls the hyper enthusiasm of the young Donald O’Connor combined with the cloying seriousness of the older Mickey Rooney at his most lachrymose. Watching Mr. Waites is exhausting and bewildering. [more]

Men on Boats

August 2, 2016

In this swashbuckling comedic play, 'Men on Boats" takes an innovative approach by casting ten women in the roles of the first “white” discovers of the Grand Canyon. However, this was not a nod to the current trend of casting cisgender or transgender actors. The use of “on boats,” instead of “in boats,” indicates the state of being in which the actresses find themselves — a history panorama where gender and race play little part. [more]

Summer Shorts 2016 – Series A

August 1, 2016

As might be expected LaBute’s new one act, "After the Wedding," contains a shocker. However, when it arrives in Maria Mileaf’s production, it is so matter-of-fact that it has little or no impact. Elizabeth Masucci and Frank Harts play a married couple of six years. Named simply “Him” and “Her,” they alternate telling (different) versions of their years together without interacting. However, both of them recall an event that occurred on their way to their honeymoon which should have been a game-changer. For these self-absorbed people millennials, it was simply another incident along the way. Sitting in chairs facing the audience, Masucci and Harts are rather charming as the amoral couple but the play seems like a scene from a longer play not yet written. [more]

Butler

August 1, 2016

Taking place during the time of the Civil War, "Butler" is a tale of conscience, courage, and transcendence. As Major General Benjamin Butler, Ames Adamson has risen to power but is faced with a decision that could change the game for slavery in America. Many of the themes surrounding a nation divided such as injustice, prejudice, and lack of understanding remain extremely relevant today and are just as impactful with events occurring every day in our world. Instead of ignoring the issues or using power as the only weapon, Butler flips the script and uses empathy and understanding as a means to connect. [more]

BenDeLaCreme’s Inferno A-Go-Go

August 1, 2016

“We’re actually going to be talking about 14th century Italian literature,” proclaims BenDeLaCreme near the start of his/her entertaining multimedia solo show" BenDeLaCreme’s Inferno A-Go-Go." It’s very loosely and irreverently based on Dante Alighieri’s The Divine Comedy. That literary classic describes a journey through hell including The Ninth Circle. Here it’s used as a clever pretext for an hour of inspired silliness with flashes of seriousness. [more]

A Class Act

July 30, 2016

While "A Class Act" covers material dramatized elsewhere, Norman Shabel’s play, seen at The Playroom earlier this year, is always absorbing, always unpredictable. The seven member cast is totally believable in their roles as lawyers and corporate bigwigs. This is a tense and enlightening evening in the theater that demonstrates the startling inner workings of the legal system even in what seems like an open and shut case. [more]

Takarazuka in “Chicago”

July 30, 2016

This Japanese version lacks the passion and darkness necessary to make this morality tale pop. The two leading ladies, Wataru Kozuki as Velma and Hikaru Asami as Roxie looked too wide-eyed and innocent to portray such trampy characters, but they moved and sang well. Keaki Mori as Matron “Mama” Morton, in her high, curly wig, totally missed the seamier sexual ambiguity of the character while Chihiro Isono as the put-upon Amos was a tad too low key. Asato Shizuki was slick, but not seamy or sexually provocative as the lawyer, Billy Flynn. [more]

Kurt Vonnegut’s God Bless You, Mr. Rosewater

July 30, 2016

The charming and charismatic Broadway leading man Santino Fontana performs the role of Elliot Rosewater with as much commitment as if he were playing J. Pierrepont Finch. Mr. Fontana’s performance is the magnetic anchor of the show. Kilgore Trout is a loony science fiction author of 117 novels and over 2000 short stories and is a recurring character in Vonnegut’s novels. Here he appears briefly near the end of the show wearing a hunting cap and rising from a wheelchair. That he is played by the legendary 85-year-old James Earl Jones with his thundering voice, joyous presence and sly comic timing is wonderfully jolting. Mr. Jones also is the narrator. [more]

Quietly

July 29, 2016

“The characters in this play both the living and the dead are completely fictional.” This statement explains the play’s overall contrived quality. Both of the lead characters have such striking similarities that at times they come across as mouthpieces academically articulating “The Troubles,” the 30-year war in Northern Ireland between The British and Catholic natives that ended in 1998. [more]

The Mushroom Cure

July 29, 2016

In the course of 90 minutes, we follow the ups and downs of Strauss’ professional, mental health and romantic lives in great detail. To his credit, Strauss gives the impression of delivering these stories as if for the first time. He was fresh and very involved, yet sensitive to the audience’s reactions. He managed to make a tediously unattractive condition fascinating and also managed to make himself affecting and human, his disability notwithstanding. OCD has never been as attractively rendered. [more]

Small Mouth Sounds

July 27, 2016

Inspired by the playwright’s attending a silent spiritual retreat at an upstate New York institute in the woods, this is an absorbing play which immediately causes the viewers to listen intently as our world is never really silent. In Stowe Nelson’s remarkable soundscape, the play begins with a torrential rain, and then proceeds to a great many sounds we usually take for granted (both performed by the actors and recorded): breathing, laughing, clicking of a pen, sighing, a gong ringing, whispers, giggling, crickets chirping, the crunching of chips, birds, a sip of tea, a sneeze, coughing, a cell phone ringing. As a result of this state of affairs and the fact that the actors (in general) don’t speak, we become attuned to watch the smallest facial expression and other forms of non-verbal communication. [more]

Privacy

July 26, 2016

Playing his most mature role to date, Radcliffe, late of Harry Potter, is charming as he begins as an introverted, reticent Englishman and then slowly panics as he realizes the extent to which his obsession with the Internet has left him vulnerable to outside forces. He is particularly fine in the computer dating sequence in which he must do a great deal of quick thinking and ad libbing as the participants change nightly. The mainly British production team includes set designer Lucy Osborne who has created a witty New York apartment for The Writer made up almost entirely of boxes made to look like iconic skyscrapers, and the clever projection design of Duncan McLean. [more]

Strange Country

July 26, 2016

These are among the choice zingers in playwright Anne Adams’ emotionally raw, earthy and often very funny contemporary dysfunctional Texas-set, family drama, "Strange Country." This entertaining piece of Americana has the humanity of Lanford Wilson, the quirkiness of Beth Henley and the unruliness of Sam Shepard. [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]

A Man Like You

July 26, 2016

Stannah, who gives a wrenching and emotionally present turn as the diplomat in distress, rarely leaves the stage for more than thirty seconds out of the entire 100 minute production with no intermission. Whether he is being choked, thrown to the ground, or wrestling with his captors, Stannah’s performance is as impressive physically as it is emotionally. His performance is certainly enhanced by that of his scene partner Abdi, the Somali interrogator and captor played by Jeffrey Marc. Marc’s Abdi is an intelligent man--or rather a “child” if one were to ask Patrick North’s opinion--whose political motivations are complex and unflinching, but inevitably puzzling to any outsider. Stannah and Marc’s duologue is concise and briskly paced, and the intensity at the heart of the production is as a result of the palatable on-stage chemistry between the pair. [more]

Shakespeare and the Alchemy of Gender

July 24, 2016

Dressed in black slacks, a white shirt and a black vest, Ms. Wolpe demonstrates a fluid physicality and a soothing vocal expressiveness. Wolpe quite adeptly offers rich characterizations of some of those most illustrious roles. In addition she seamlessly switches to delivering revelatory reminiscences and concise analysis of the plays with élan that recalls Spalding Gray’s monologues. The combination of these elements yields to a wonderful performance. [more]

No End of Blame: Scenes of Overcoming

July 22, 2016

Director Richard Romagnoli who also staged the 2007 production and he has done an excellent job of visualizing the scope of the scenes. Action on the battlefield, political conflicts in Moscow and German atrocities in the Ukraine are all exciting. A life drawing class sequence at a Budapest art school is quite compelling. A longhaired female model makes sardonic observations from atop a ladder as the students in long white coats swirl around her. It recalls the stunning achievements of Derek Jarman and Peter Greenaway in their art house films. [more]

2 by Tennessee Williams: “27 Wagons Full of Cotton” & “Kingdom of Earth”

July 21, 2016

While the play can be a tour de force, Kathryn Luce Garfunkel is so one dimensional that her Flora has little weight. She exudes languidness and laziness, but fails to make Flora anything other than whiney and needy over the course of the play’s three scenes. Even after her encounter with Vicarro she doesn’t seem that much different. Holcomb seems miscast as the wily Latin though he does make Vicarro shrewd and knowing. Keller gives the most convincing performance as the sinister and abusive Jake. Unfortunately, the rhythms of the production do not make the play either the comedy that Williams subtitled it or the tense revenge drama that it also is. [more]

Bridgman|Packer Dance

July 20, 2016

At times, Hopper’s paintings—mostly the moody ones—were inhabited by the dancers who took on the iconic, emotionally laden poses so brilliantly painted by Hopper, helped by Frank DenDanto III’s fine lighting. Outdoor scenes, images of isolated houses and rows of urban buildings added to the complexity. Endlessly long corridors, down which the dancers wandered, appeared as the soundtrack (by Scott Lehrer and Leon Rothenberg) alluded to city sounds, distant trains, conversations and nature. The two dancers were never eclipsed by the set and projections, their emotional states always in flux and always crystal clear. The effect was often breathtakingly and movingly beautiful. [more]

The Red Room

July 18, 2016

After a less then engrossing hour of prattling and a too stylized presentation, in its last thirty minutes "The Red Room" becomes the powerful family drama it intends to be. [more]

Cabaret Spotlight: Two Good To Be True

July 17, 2016

If you're stuck in the city in the hot summer, there's good reason to come to the cabaret. All the Manhattan clubs have impressive lineups for the summer months. Some of the most entertaining and musically refined engagements can be found at Feinstein's/54 Below as they offer rosters that are hard to top. Two recent engagements stand out. [more]

Pillars of New York

July 15, 2016

The score that Mr. Antin composed and wrote the lyrics for is a serviceable collection of songs that could possibly have succeeded in a show about the conflicts among married couples. Wedged into a dramatization of a horrendous historical event, they’re hollow and rarely achieve other then a filler quality. [more]

Simon Says

July 13, 2016

Three-time Tony nominee Brian Murray returns to the New York stage for the first time in four years as a retired professor of parapsychology who has put aside his own career to foster that of a young psychic from the time he was a teenager who is able to channel a spirit named Simon. However, the play belongs entirely to virile newcomer Anthony J. Goes who plays psychic James. The role is both vocally and physically demanding and he is totally convincing in a play that asks you suspend your disbelief. [more]

Twyla Tharp and Three Dances

July 13, 2016

From 1976, “Country Dances” represented the post-experimental avant-garde phase after breakout success with her ballets for major dance companies. From 1980, there was “Brahms Paganini,” her entrée into her hybrid style combining her eccentric, seemingly casual movements with the classical ballet vocabulary and from 2016, “Beethoven Opus 130,” virtually a classical ballet with quirky touches. [more]

Liberty: A Monumental New Musical

July 13, 2016

The production team uses most of the same people who were involved with the show’s 2014 run at Theater 80 St. Marks as well as four of the eight actors. Directing again, Evan Pappas keeps the show moving along, but some of the characterizations are allowed to descend into caricature and the waiting game for the money to be raised becomes a bit wearisome. Shapiro, now two years older, is charming as Liberty and has a sweet voice but it fails to project in this venue. Emma Rosenthal is impassioned as Emma Lazarus, caught between her liberal beliefs and her family’s conservative leanings. [more]

Katdashians! Break the Musical!

July 12, 2016

Under John Duff’s direction, this energetic group of performers get an A+ for accurately portraying their chosen characters. As KimKat, Carmen Mendoza is as self-centered as can be and let her queen status be known with “The Selfie Song,” while Elliott Brooks’ KhloeKat takes on the role of the black sheep of the family with her hysterical, crude and unfiltered persona shining through. As KrisKat, Bailey Nolan makes her mark as the creator of the litter known from the start and is just as domineering and commanding as you’d expect. Peter Smith, who is a supporting player in the Kardashians’ show, takes on the role of Bruce Jenner/Catlyn and tries to find his place among divas – getting his moment with the catchy, “Bruce Jenner (He's a Man's Man).” [more]
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Copyright Jack Quinn, 2001-2023