A work that has been collaboratively devised by members of the Happenstance Theater troupe, Juxtapose | A Theatrical Shadow Box cites as its influences the artworks of Joseph Cornell and the French films Amélie (2001) and Mon Oncle (1958). The play, directed by Mark Jaster and Sabrina Selma Mandell, explores randomness and dissimilarity and focuses on the lives of tenants in a French apartment house through a series of scenes that can be identified from their artistic influences or simply enjoyed as charming vignettes arranged in visually striking tableaux. Either way, the result is a multilayered and curious work that is both thought-provoking and delightful.
Bob Marley: How Reggae Changed the World is a soulful solo journey that traces reggae’s roots and its global reverberations through the life and legacy of its most iconic figure. Written, performed, and directed by Duane Forrest, the show blends acoustic music, personal storytelling, and audience connection, allowing one to glimpse how Bob Marley’s message reshaped not only a genre, but lives.
The Holocaust is never light fare for anyone, and it may be presumptuous to say, but its darkness is no more acutely felt than by those who survived it. The Congress for Jewish Culture’s production of Night Stories: Four Tales of Reanimation dramatizes the Yiddish poems of Avrom Sutzkever, widely acknowledged as the most eloquent Holocaust poet. Sutzkever’s poems, which depict the ghetto in Vilnius, Lithuania, under Nazi occupation, reflect the emotional roller coaster of its residents’ existence, pivoting among horror, humor, and an ambivalent desire for both death and redemption.
Playwright Jennifer Blackmer takes great pains to jazz up a history lesson in Predictor, her tribute to the unheralded woman who created the home pregnancy test, Meg Crane. The chronological account of Crane’s invention is interspersed with musical and joky skits, as well as scenes representing Crane’s thoughts or flashbacks in her life.
Molière’s Tartuffe is robustly reimagined by Lucas Hnath in a randy new version directed by Sarah Benson, turning the classic comedy of hypocrisy into a breathless, contemporary satire. With choreography by Raja Feather Kelly and a fearless cast led by Matthew Broderick and David Cross, the production unleashes ferocious wit and gleeful buffoonery.
Titles, even subtitles, sway playgoers’ expectations. Take, for instance, a recent press performance of Laowang: A Chinatown King Lear. Alex Lin’s new farcical melodrama zips relentlessly around jocose hairpin turns. The dialogue, stylishly delivered by a first-rate cast, is witty, urbane, and frequently arch. Yet the audience—presumably anticipating King Lear or something akin to that monumental tragedy—sat in suspended, churchlike repose throughout the play’s early scenes.
Bus Stop, the third of four Broadway successes that playwright William Inge scored between 1950 and 1959 (the second, Picnic, won the 1953 Pulitzer Prize), takes place in a small-town diner on a route between Kansas City and Topeka. Grace (Cindy Cheung), the proprietor, keeps the place open all night, when necessary, as a refuge for travelers marooned by inclement weather. During a blizzard, a Topeka-bound bus arrives around 1 a.m.; the driver, Carl (David Shih), informs his four passengers that they’re stranded until highway crews clear the road ahead.
