At the newly revitalized Delacorte Theater, Saheem Ali’s stirring production of Romeo and Juliet reimagines Shakespeare’s Verona as a divided community along the U.S.-Mexico border, bringing fresh urgency to the tale of the star-crossed lovers. By allowing Romeo and Juliet to speak to one another in Spanish amid a world of conflict, Ali illuminates both the intimacy of their bond and the forces determined to keep them apart.
Angsty-girl plays have been flourishing on New York stages, and in several of these ensemble dramas, the characters use music to let out their frustrations—see, for example, the group dance breaks in John Proctor Is the Villain, All Nighter and the just-extendedDad Don’t Read This. For the title characters of Eisa Davis’ disarming ||:Girls:|| ||:Chance:|| ||:Music:||, though, music represents more than a release. It’s their way of communicating, of making sense of their world, of discovering just what they’re capable of and what (and who) they truly care about.
And Then the Rodeo Burned Down is New York City’s third exposure to the antic stagecraft of Xhloe and Natasha, who write, perform, co-direct, and design and recently snagged major prizes in three consecutive years at the Edinburgh Fringe Festival. These Gen-Z collaborators (full names Xhloe Rice and Natasha Roland) deploy their well-honed professional skills—acting, clowning, dance, acrobatics, and stand-up—with astonishing energy and rugged charm. As writers, their stock-in-trade is a skeptical reassessment of myths about American history. As performers, their mission is to challenge those entrenched falsehoods in a style that’s more imagistic than analytic and informed by Theater of the Absurd.
Abigail Pickard Price’s production of Charles Dickens’s David Copperfield may not include all the great characters of the 800-plus pages of the novel, but her exciting adaptation (with Sarah Gobran and Matt Pinches) for the Guildford Shakespeare Company is not to be missed.
Eljon Wardally’s Blooming in Dry Season turns a family dispute over a daughter’s future into a moving examination of ambition, sacrifice, and the burdens parents pass to their children. Over the course of two acts, layers of conflict gradually emerge, deepening one’s understanding of the characters’ lives. Wardally skillfully builds suspense through subtle clues that reveal the emotional toll hidden beneath the characters’ seemingly happy lives, and director Jackie Alexander paces the production adroitly and guides the powerful performances of an excellent cast.
Bedlam’s stripped-to-the-bone staging of Othello proves that less can indeed be electrifyingly more, as four actors conjure a harrowing world with precision and nerve. Under the incisive direction of Eric Tucker, this revival foregrounds the play’s racial tensions with clarity, inviting audiences to lean in—and reckon—with every word.
Just in time for Halloween, the Off-Off-Broadway troupe Bedlam is spicing up its presentation of Hedda Gabler with a Walpurgisnacht dance. That unexpected choreographic interpolation, with flashing lights, thump-y music, and Hellfire Club costumes, might strike the fancy of Sigmund Freud but would certainly surprise the play’s author, Henrik Ibsen—and perhaps also Jon Robin Baitz, whose adaptation, based on Anne-Charlotte Hanes Harvey’s translation, the production utilizes.
