This Is Not a Drill is York Theatre’s second production in a year built on a people-stuck-in-a-hotel template. Last December’s Welcome to the Big Dipper involved a blizzard; in Drill, guests of Honolulu’s Hibiscus Resort have their trips disrupted by an emergency alert about an inbound missile.
Emotions turn on a dime in The Porch on Windy Hill, the “new play with old music” at Urban Stages. They’re illogical and inconsistent, and that’s why you’ll probably enjoy the old music more than the new play, which is by Sherry Stregack Lutken, Lisa Helmi Johanson, Morgan Morse, and David M. Lutken. But as for the old music, you are likely to enjoy it very much indeed.
“I’ve heard that this is being referred to as an Off-Broadway play,” sighs comedian Julio Torres at the outset of Color Theories. Julio, author and leading actor, casts a knowing glance across the audience, pausing for a comically timed beat, and shakes his head laconically: “No … no, no, no, no. … That could not be further from the truth.” As this sly, charming theater piece zips along, however, it becomes clear that Color Theories is indeed an Off-Broadway play, not merely a spiffily staged stand-up routine.
Just like that other Alexander currently celebrated on the New York stage, fashion designer Alexander McQueen rose from humble origins to make his mark in an elite milieu. Darrah Cloud’s new bio-play House of McQueen features Bridgerton heartthrob Luke Newton in the title role, with Broadway musical star Emily Skinner as McQueen’s mother, Joyce, and Catherine LeFrere as his friend and patron Isabella Blow—the two most important women in McQueen’s life.
Henrik Ibsen’s play The Wild Duck received a confused reaction from most critics after it was published in 1884. Almost alone, George Bernard Shaw acclaimed it, and while its reputation has gradually grown, it isn’t performed nearly so much as A Doll’s House or Hedda Gabler or Ghosts: the last New York City production in English was in 1987. For a play that the stern critic John Simon called “one of the finest tragicomedies in all dramatic literature,” the neglect is shocking, so Theatre for a New Audience deserves kudos for resurrecting it. The result, however, is often disappointing.
This Is Not a Drill is York Theatre’s second production in a year built on a people-stuck-in-a-hotel template. Last December’s Welcome to the Big Dipper involved a blizzard; in Drill, guests of Honolulu’s Hibiscus Resort have their trips disrupted by an emergency alert about an inbound missile.
