Many an actor has played Shakespeare’s problematic Shylock, the centerpiece of Shakespeare’s Merchant of Venice, since Elizabethan times. Even in “officially” Jew-free England (nominally from 1290–1656, though Sephardic Jews fleeing the Spanish Inquisition did live there), stereotypes of Shylock the Jew prevailed. Yet relatively rarely has a Jewish actor been cast as Shylock, especially in today’s “cancel culture.” In Playing Shylock, dramatist Mark Leiren-Young’s solo play, actor Saul Rubinek channels this issue.
In this theatrical age of digital scenery, hybrid storytelling and contemporary subject matter, Reunions seems old-fashioned with its painted backdrop for scenery and simply told stories set in pre–World War I Europe. Yet from this old-fashioned presentation come many of the show’s pleasures, including some charming ditties, fine period costumes and note-perfect performances, particularly by a couple of beloved old hands of the New York stage.
Relationships are hard—even moreso when you’re working from the literal points of view of both parties. In writer/director/performer Natalie Palamides’ Weer, love takes a dangerous—if a bit weird—turn while jumping through time across the entire lifespan of one couple’s wild relationship. Making its début at the Cherry Lane Theatre, newly reopened under the acclaimed independent film studio A24, the play arrives after a successful run in London.
In Morgan Lloyd Malcolm’s The Wasp, two women—Carla (Amy Forsyth) and Heather (Colby Minifie)—meet at an outdoor café. Carla arrives first. Heavily pregnant, she lights a cigarette and, even seated, has a swagger about her. When Heather enters and sees Carla, she launches into nervous small talk, which Carla swats away with silence. The initial tension seems to stem from Carla’s dour and angry demeanor, but as the play unfolds, the core conflict revolves around their shared past, future consequences, and a morally difficult proposition.
Rare is the musical that begins with an undescended testicle. But that’s the opening parry of Fixing Frankie, by Joe Langworth (book and lyrics) and Steve Marzullo (music). More than the troubled hero’s scrotum needs fixing, and Langworth and Marzullo take him down some curious byways, piling on unnecessary details and side stories. Ultimately, though, Frankie’s healing is a touching little story, if one that could use a little touching up.
This is pretty high-profile stuff for La MaMa, and a far more elaborate production than their norm: A major stage performer and a noted film actor in a new play by a well-known movie and TV actor. And Then We Were No More, by Tim Blake Nelson, thrusts the audience into a depressing future that may not be far off—but one that feels more familiar, what with the surfeit of apocalyptic and otherwise downbeat futuristic dramas flooding the marketplace, than Nelson likely intended.
The October 1981 issue of Vogue magazine features Nastassia Kinski on the cover and includes the infamous Richard Avedon two-page photo spread of the actress wearing nothing but a huge, writhing boa constrictor. But in the alternate reality of Caitlin Saylor Stephens’s vitriolic new comedy, Five Models in Ruins, 1981, that October issue very nearly comes to feature a much lesser-known cover girl, and the accompanying story would showcase not a serpent, but five decidedly catty women in flowing white gowns.
