A Pirandellian lark and two plays with feminist concerns constitute Summer Shorts (Series A), the invaluable annual presentation of one-acts at 59E59th Street Theaters by Throughline Artists.
Instructions for American Servicemen in Britain, the opening entry in the annual Brits Off-Broadway series, is less a play than a boisterous entertainment, inspired by an actual 1942 booklet issued to American soldiers and airmen arriving in Britain to help battle the Nazis. What the creators spin from it is a curious pastiche: part culture clash, part British music hall, seasoned with sometimes hoary comic clichés and a genial spirit. At different times it calls to mind Teahouse of the August Moon, Sgt. Bilko, The Andy Griffith Show, and the caricatured aristocrats in the film Kind Hearts and Coronets.
All Our Children, the first play by the experienced theater and opera director Stephen Unwin, is structured as a moral debate that sheds light on the mass murder of disabled children in Nazi Germany. The play is well-staged and intermittently powerful, but overly schematic, as the characters too often feel like mouthpieces rather than fully realized individuals. It premiered on the West End in London in 2017, and now comes to the Black Box Theater at the Sheen Center, with a new cast, under the sure-handed direction of Ethan McSweeny.
By the time of Oscar Hammerstein II’s death, in August of 1960, The Twilight Zone had completed its first season on CBS, and The Lawrence Welk Show was six seasons into its 16-year run on ABC. It’s worth noting this not because one of the theater’s greatest librettists was a known fan of either TV show, but because both programs may come jarringly to mind at Doreen Taylor’s Sincerely, Oscar, a combination memoir and homage that celebrates the talent, and apparent immortality, of the man whose timeless work ranges from “Oh, What a Beautiful Mornin’” to “Some Enchanted Evening.”
No one attends the symphony for a surprise ending, or to watch the string section go rogue. The enjoyment lies in the way that each instrument performs as expected, to the height of the players’ abilities, creating controlled harmonies and disciplined rhythms that pull at the heart while being pleasing to the ear. So it is with Mrs. Murray’s Menagerie, the absorbing new comedy from The Mad Ones that finds six parents, each with an instantly recognizable personality, playing off one another during a market-research session at a pace that can only be described as musical.
Charlie’s Waiting, a new dark comedy by Mêlisa Annis, demonstrates its young author’s flair for weaving comedy and drama together, as well as a wicked imagination. The “what if” behind the plot creates tension that is palpable.