British fascism may have preceded Hitler and Mussolini, but those dictators inspired homegrown demagogues who reveled in mass rallies and mobilized Blackshirts to harass and terrorize impoverished immigrants. Tim Gilvin’s and Alex Kanefsky’s musical Cable Street recounts, in scenes alternating between the modern day and 1936, how British fascism turned out differently, as residents of London’s multicultural East End united to deter a right-wing rally on their turf.
Well, I’ll Let You Go is written by actor Bubba Weiler, who’s a little over 30, and directed by Jack Serio, still under 30 and seemingly ubiquitous in New York theater. It’s set in a mid-size, midwestern town that has lost its skill-based, manufacturing economy. Weiler’s characters are adjusting, in sundry ways, to coarsening influences, including the regional fulfillment facility of a gargantuan online retailer, which is the town’s sole surefire source of regular employment. Weiler and Serio bring a balance of intellect and feeling to their work, and the result is a fresh, engrossing chronicle of ordinary citizens contending with change for the worse.
Randall Sharp has been writing and directing plays for her Axis Theatre Company for more than 30 years. Radiating from the basement of One Sheridan Square, the sacred and profane locale that once housed Café Society, then Charles Ludlam’s Ridiculous Theatrical Company, Sharp’s jabby storytelling is never without its quirks. Her latest work, a space oddity called Specimen, is no exception.
The closing of Bad Cinderella in June 2023 may have ended Andrew Lloyd Webber’s 43-year Broadway streak, but it sparked a radical re-interpretation of his hit shows from the 1980s and ’90s. Last season featured a stripped-down, video-heavy revival of Sunset Boulevard, while a ballroom-inspired Cats: The Jellicle Ball is currently running. Next season, Jamie Lloyd’s pulsing, monochromatic revival of Evita, having triumphed in London, arrives in New York. However, the most transformative reimagining has arrived with Masquerade, an immersive and interactive Off-Broadway production that deconstructs and reconfigures The Phantom of the Opera.
Some plays tell stories; 73 Seconds excavates silences. In this haunting and ambitious solo work, writer and performer Jared Mezzocchi traces his mother Rosemary’s hidden connection to NASA to explore the fragile constellations of family memory, loss, and unrealized possibility. Sensitively staged by director Aya Ogawa inside the 64-seat planetarium at the Lower Eastside Girls Club, Mezzocchi’s autobiographical narrative is structured in three movements.
British fascism may have preceded Hitler and Mussolini, but those dictators inspired homegrown demagogues who reveled in mass rallies and mobilized Blackshirts to harass and terrorize impoverished immigrants. Tim Gilvin’s and Alex Kanefsky’s musical Cable Street recounts, in scenes alternating between the modern day and 1936, how British fascism turned out differently, as residents of London’s multicultural East End united to deter a right-wing rally on their turf.
