Jenne Vath

Medea of the Laundromat

June 17, 2025

This is not merely a delightful evening of theatre—it is a defiant, sequined middle finger to theatrical complacency. The cast, many of whom trained under the maverick George Ferencz at La MaMa, bring authentic chops to the chaos. Morrison is transcendent, as raw as he is precise. Vath is a hurricane in scrubs (and let it be known she is the hardest working actress south of the TKTS line as she races from her curtain call at Theater Row Theater’s production of Cracked Open to aid and abet the sorceress on the cover of Child Abuse Monthly). Howard’s Jason is laughable, pitiable, and oddly endearing—a fallen hero undone by hubris and soap suds. [more]

Cracked Open

May 25, 2025

At an hour and 40 minutes, "Cracked Open" is an earnest but often exhausting theatrical experience. Its heart is unquestionably in the right place—tackling the vital and still-stigmatized subject of mental illness with sincerity—but the journey can feel more dutiful than illuminating. Despite these shortcomings, the cast’s unwavering commitment and playwright Kriegel’s courage in confronting such difficult terrain deserve commendation. [more]

Galas

June 19, 2019

This first-ever revival of "Galas" intentionally coincides with World Pride and the 50th anniversary of the Stonewall Uprisings. It honors the memory of Ludlam who died of AIDS in 1987 at the age of 44, affirms its high reputation and demonstrates that its eternally funny. It’s performed at the historic and under repair Theatre at St. John’s Lutheran Church on Christopher Street in Manhattan which is close to Sheridan Square where the original production premiered and to the Stonewall Inn. [more]

Prague, 1912 (The Savoy Café Yiddish Theatre)

November 13, 2017

There is a fascinating story to be told in Franz Kafka’s involvement with the Yiddish theater in Prague during 1912 but Lu Hauser’s play isn’t it. "Prague, 1912 (The Savoy Café Yiddish Theatre)" is both episodic and repetitious without being clear as to the point that it is making. It simply seems to be a collection of scenes on the same themes that endlessly repeats itself. As Paula Vogel’s "Indecent" has demonstrated, there is a renewed interest in the Yiddish theater but "Prague, 1912" has not brought to life this world that is now gone with the wind. [more]