The Irish Rep is currently staging its fourth production since 2013 of Conor McPherson’s 1997 play The Weir, with several of the cast reprising roles. And yet there is nothing stale about this staging—instead, the play is brought to exhilarating life by a marvelous ensemble, under Ciarán O’Reilly’s assured direction. The Weir is essentially a collection of four ghost stories, which arise naturally out of the banter in a rural Irish pub, that ultimately reveal more about the loneliness of the people telling them than anything supernatural.
A multitude of transgressions come to light in Terry Curtis Fox’s Transgression. This melodrama about New York artists consists of 19 scenes toggling back and forth between 2010 and 1970. At irregular intervals, the playwright detonates ugly, morally irksome surprises. The result is a two-hour, slow-motion collision between louche mores in the Warhol era and the subsequent new-millennial sensitivity that augured the eruption of #MeToo.
Rolling Thunder, a hybrid jukebox musical and Vietnam War docudrama, has, in fact, been on a roll. After opening in Brisbane in 2014, it toured Australia twice, in 2016 and 2023. Now, marking the fiftieth anniversary of the end of the war, writer and onetime Sydney Morning Herald theater critic Bryce Hallett has adapted his script for an American audience, bringing this hard-rocking reckoning of the 1960s to New World Stages for its Off-Broadway premiere.
Can one improve upon Shakespeare? That is the question. Or at least that is the question that propels the plot of Brian Dykstra’s Polishing Shakespeare. For more than 400 years, Shakespeare’s identity has been debated, challenged, and disputed, and his plays have been revised, reimagined, and rewritten. Yet it is only recently that the literary ethics of directly translating his works from early modern to present-day English have been thoroughly considered.
In the revival of Crystal Skillman’s Open, now playing under the deft direction of Jessi D. Hill, Megan Hill delivers a mesmerizing solo performance as the Magician—a woman who attempts to conjure the truth of a personal tragedy through the language of illusion. What unfolds is not merely a magic show, but a deeply felt meditation on love, loss, and the fragile hope that words—and maybe even spells—can undo the past.
Rolling Thunder, a hybrid jukebox musical and Vietnam War docudrama, has, in fact, been on a roll. After opening in Brisbane in 2014, it toured Australia twice, in 2016 and 2023. Now, marking the fiftieth anniversary of the end of the war, writer and onetime Sydney Morning Herald theater critic Bryce Hallett has adapted his script for an American audience, bringing this hard-rocking reckoning of the 1960s to New World Stages for its Off-Broadway premiere.
