Solo Performance

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KING

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KING

In Ireland’s County Cork there are apparently many ghosts. Nasty ghosts. KING (an acronym for Keep Ignoring Nasty Ghosts) posits that ghosts of the past have a central role in the way we live our present—and future. Fishamble, a Dublin-based theater showcase for new Irish plays, has produced this work, which features a solo performance by Pat Kinevane, a veteran associate of the company. Director Jim Cullerton has shaped it into a powerful but enigmatic and often disturbing reflection on obsession, mental illness, England’s domination of Ireland and its empire, and one man’s attempt to grapple with a litany of wrongs, both past and present.

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Eddie Izzard’s Hamlet

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Eddie Izzard’s Hamlet

Great love and labor has clearly gone into the performance of Eddie Izzard’s 2½-hour solo Hamlet. The adaptation by Mark Izzard (Eddie’s older brother) is generally true to Shakespeare’s text, the split-level set by Tom Piper is wisely uncluttered, and Izzard delivers Shakespeare’s verse with remarkable ease. 

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Like They Do in the Movies

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Like They Do in the Movies

Laurence Fishburne’s one-man show, Like They Do in the Movies, arrives at the Perelman Performing Arts Center like a breath of fresh air. Written and performed by Fishburne, and directed by Leonard Foglia, it is a deeply personal performance that is immensely entertaining.

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On Set with Theda Bara

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On Set with Theda Bara

On Set with Theda Bara is a single-actor comedy-drama by Joey Merlo that revolves around the suspicious disappearance of a genderqueer teenager. In this pastiche of film noir, Merlo piles mystery upon outlandish mystery, and David Greenspan leads the spectators (limited to 50 a performance) through a 65-minute, mazelike tale that’s at once intriguing and mystifying.

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Less Lonely

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Less Lonely

Toward the beginning of the new solo show Less Lonely, writer and star Jes Tom explains: 

Usually when I do comedy, I come out on stage, I do a bit that goes “Hi. I’m Jes, my pronouns are they/them, I like when people call me ‘they,’ it makes me feel less lonely. Like someone can be like, ‘That’s Jes, they’re gonna go smoke a spliff,’ and it sounds like I had a friend.”

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Unconfined

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Unconfined

Unconfined is a solo theater piece based on real-life events that asks a fundamental question: What does it mean to really know another person? In this case, the question is more difficult than usual, as the person to get to know is on lockdown on death row. The story of a seemingly kind, thoughtful, creative, and spiritually sophisticated convicted murderer came to playwright Liz Richardson’s attention when she “received a binder of extraordinary poems, drawings, and letters by a prisoner who had been on death row for 18 years,” as noted in the program. She wrote the piece based on her own research and interviews. Richardson portrays three characters who all interacted with the unseen, unnamed protagonist while he was imprisoned: Barbara, a professor of comparative religion at a Southern university; Eleanor, an English artist; and a fellow death-row inmate, Benny.

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A Good Day to Me Not to You

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A Good Day to Me Not to You

In her new solo show, A Good Day to Me Not to You, writer and star Lameece Issaq plays a wonderful, quirky, neurotic aunt—the type who makes you feel safe. It’s a character (identified only as Narrator) who is at odds with her situation in the play: according to a shaman, she carries “a spiritual infection” that has metastasized to her body, in the form of genital warts, or possibly from her body to her soul—it’s in both, and presents itself in a fear of sex, a fear of loneliness, and the Narrator’s withdrawal from the messiness of life to a nunnery. Even there, her life isn’t completely without angst—she meets a deranged woman, who greets her with “A good day to me, not to you.”

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Monsieur Chopin

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Monsieur Chopin

Hershey Felder, the pianist and actor who has embodied musicians such as George Gershwin and Ludwig van Beethoven in previous shows, is Fryderyk Chopin in his latest stage biography, Monsieur Chopin, directed by Joel Zwick. In the script he has written, Felder climbs into the skin of Chopin, and reveals both the highs and lows of the 19th-century Polish pianist-composer’s life and career.

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Food

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Food

Geoff Sobelle’s Food at BAM Fisher is performance art of the most engaging kind. It provokes rumination about man’s relationship to nature, to the use of the environment, and to the distance between tilling the earth with dirty hands and the meal that arrives on a plate at home or in a restaurant. If that implies an overly serious purpose, it is brightened by Sobelle’s interactivity with his audience, his deft sleight of hand, and slapstick that veers into carnival sideshow.

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All the Devils Are Here

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All the Devils Are Here

Patrick Page’s investigation into Shakespeare’s villains is a master class on the Bard and a bravura demonstration of Shakespearean acting. In All the Devils Are Here: How Shakespeare Invented the Villain, Page brings a lifetime of performing and thinking about Shakespeare to the stage. He inhabits characters running the full range of Shakespeare’s dramatic career and imparts some of the wisdom he has accrued along the way, summoning evil spirits one moment and serving as congenial, good-natured, and charismatic host into the heart of darkness the next.

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A Will to Live

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A Will to Live

New lives that spring from trauma can often take surprising turns. The people who may seem most likely to be permanently damaged can demonstrate the ability to heal, be empathetic, to love, and even to forgive. The indomitable spirit of Helena Weinrauch, whose world was brutally torn apart in occupied Poland during World War II, is reflected viscerally, visually, and poetically in A Will to Live, Kirk Gostkowki’s adaptation of Weinrauch’s 2008 memoir.

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A Séance with Mom

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A Séance with Mom

Actress-playwright-comedian Nancy Redman has returned to the Chain Studio Theatre for the third run of her one-woman show, A Séance with Mom.  Directed by Austin Pendleton, the piece is performed on a bare stage, with only a chair, small table, and walker at its side. Its six characters are conjured up by Redman with her expressive voice, elastic face, and physical comedy. Redman, who has been described as a cross-fertilization of Lucille Ball and Groucho Marx, steers clear of politics, preferring to take a deep dive into family relationships and the human condition.

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A Eulogy for Roman

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A Eulogy for Roman

Going to a solo show that is set up as a memorial service might not sound like a particularly inviting theatrical experience during the dog days of summer. But A Eulogy for Roman, written and performed by the beguiling Brendan George, proves that saying farewell to a childhood friend doesn’t have to be an occasion for tears but can be a time for making new promises.

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One Woman Show

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One Woman Show

“I guess I’m just relatable,” says Liz Kingsman with a shrug in One Woman Show, her sharp, absurdist parody of the British TV series Fleabag and the wave of women’s solo confessionals that followed it. Kingsman plays a hyped-up version of herself in her play, a jobbing actor who is recording her self-penned solo show, Wildfowl, so that she can market it in the hope of becoming a major TV series.

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Chanteuse

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Chanteuse

If you just can’t wait for the transatlantic transfer of the hit West End Cabaret that was recently announced, cheer up, there’s another Nazi musical in town. That would be Chanteuse, the bleak and arresting solo tale of the remarkable fate of one gay man in Weimar and post-Weimar Germany. The performer, Alan Palmer, also wrote the book and lyrics, while the curiously soothing music is by David Legg. Chanteuse has a frightening and touching story to tell, but you might not be entirely on board with the way it gets told.

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Triple Threat

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Triple Threat

“Triple threat” has a double meaning for Broadway veteran James T. Lane. As a performer who can sing, dance and act, he is a triple threat in theater parlance. But, as he acknowledges in his solo autobiographical play of the same name, he has also faced a triple threat of challenges in his life: Black, gay, addict.

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Eisenhower: This Piece of Ground

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Eisenhower: This Piece of Ground

Richard Hellesen’s new solo show Eisenhower: This Piece of Ground resurrects the 34th President with much sound and fury. Directed by Peter Ellenstein, and with the superb John Rubinstein playing the eponymous role, this play may well overhaul that musty image of Dwight D. Eisenhower as a “do-nothing” president.

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Invisible

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Invisible

Nikhil Parmar’s relentlessly kinetic solo show Invisible is an impressive hourlong workout for the actor. The words tumble out, the situations are plentiful, and he breaks the fourth wall time and again. If he had not written the piece for himself, one might regard the movement as a mistake by a novice, but Parmar intends to show what he can do, vocally and physically, and with a vengeance.

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Being Mr. Wickham

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Being Mr. Wickham

Jane Austen’s work has never been an easy read, but in the way she weaves her characters’ complex personalities into her novels she attempts to provide the reader a window into their early 19th-century English culture. Yet perhaps because of cultural and linguistic norms of the time, some characters are not easily accessible. Writers Adrian Lukis and Catherine Curzon jointly explore George Wickham in Being Mr. Wickham, giving the audience a social, parlor-like closeup—an almost intimate one—of the very man whom Austen vilifies in Pride and Prejudice.

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Orlando

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Orlando

At the outset of Orlando, playwright-performer Lucy Roslyn says she discovered Virginia Woolf’s 1928 novel (also titled Orlando) at a “jumble sale” when she was 12. Roslyn, from England’s West Midlands, explains that a jumble sale is what Americans call a yard sale. She also mentions that hers is a Coventry accent and that Woolf’s Orlando, in successive editions, has been a treasured companion since she bought that flea-market paperback years ago.

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