More than heated chess competitions occupies the center of Cándido Tirado’s New York premiere of Fish Men at INTAR, as five men who gather around the chess tables in Washington Square Park maneuver for higher stakes than mere checkmates in a game.
Rita Rudner is not quite a household name, but when she shows up in Two’s a Crowd, the new little musical for which she cowrote the book with her husband, Martin Bergman, and in which she stars, she commands entrance applause. If you don’t know who she is, here’s the scoop: The comedienne first showed up on 1980s late-night talk shows, usually Letterman or Johnny Carson, selling the persona of the modern, put-upon woman—frustrated with technology, female powerlessness, and men. She had a good run with it, wrote some books, and moved from network TV mostly to Las Vegas, where she has been steadily performing for almost two decades.
Reality Curve Theatre of Vancouver is making its first visit to New York City with Zayd Dohrn’s early play Reborning. Ten years ago, when Dohrn was unknown, this unsettling, if far-fetched, comedy-drama was part of the Summer Play Festival at the Public Theatre. Since that time, the playwright, who heads the graduate dramatic-writing program at Northwestern University, has penned a number of provocative yet non-preachy scripts that explore social issues through clashes—always fierce, sometimes violent—among recognizable characters.
Theatre Breaking Through Barriers (TBTB) is celebrating its 40th anniversary with a production of a new work by Bekah Brunstetter, Public Servant. The play is set in a small town in central North Carolina, a state that the native Brunstetter has previously focused on in dramas such as Oohrah! and The Cake. Following the TBTB mission statement, Geordie Broadwater’s first-rate production features both abled and disabled actors.
Although the Parisian cabaret the Moulin Rouge was most recently popularized by Baz Luhrmann’s fantastical 2001 film musical, it was French painter Henri de Toulouse-Lautrec’s posters that brought fame to the venue during its original heyday in the late 19th century. Colorful and grotesque, his works depicted the excess, revelry, and bohemian lifestyles that defined the neighborhood of Montmartre at that time. In Unmaking Toulouse-Lautrec, Bated Breath Theatre Company delivers a quick and dirty look at the man behind the paintings in NoHo’s sexy, velvet-saturated bar Madame X (a venue that befits the bordello stylings of the production’s historical time period).
God of Marz, Rachel Shaw’s new play presented by Red Planet Theater Company, includes a warning upfront. A voice-over eschews the usual no-photos and no-cellphones reminder and (ungrammatically) informs the audience that “nothing the characters say or do does in any way reflect the views of the author, actors, directors, stage managers, costume designers, or the venue of this production. Some may find the material offensive and, if so, please leave quietly with no regrets.” Aside from the assumption that the play then does reflect the views of the lighting and scenic designers, for instance, some audience members might harbor an expectant thrill of an inflammatory evening at the theater. Alas, that’s not the case.