The title of Lia Romeo’s play Still, it must be clarified, is unrelated to manufacturing moonshine in the mountains of Appalachia. Rather, her wistful two-hander is about seniors reconnecting—the kind of story that pops up periodically in bridal pages about two spouses whose longtime partners have died and who have somehow reconnected with their youthful heartthrobs. The stories carry an inherent charm, one that is aided immeasurably by two superb performers, Jayne Atkinson and Tim Daly.
In addition to introducing the word robot to the English language, Czech writer Karel Čapek’s 1920 sci-fi drama R.U.R. depicted a dystopian world in which scientifically manufactured laborers gradually eradicate humans. The play perfectly captured the anxieties of the burgeoning Machine Age and was a big hit on Broadway in 1922. S. Asher Gelman’s Scarlett Dreams attempts to tap into similar uneasiness as the former Information Age settles into the current Age of Intelligence. With the meteoric advancement and sudden ubiquity of artificial intelligence (AI), the play suggests that it may be just a matter of time when people will be controlled by digital avatars, and the difference between reality and virtual reality (VR) will become purely conjectural.
Philadelphia, Here I Come, written in the 1960s by Irish playwright Brian Friel, poignantly captures the anticipation, fear, and excitement of emigrating to a new place. Set on the eve of departure, Friel’s play focuses on Gar, the would-be émigré, in both his Public self (played with subdued melancholy by David McElwee) as he struggles with his decision to leave, and his Private self (played with exuberance by A.J. Shively), screaming to get out. It’s deadly boring in Ballybeg, a tiny little corner of County Donegal, Ireland, where the most exciting things are a game of checkers and memories of teenage shenanigans.
Theatergoers yearning to see a new spin on Macbeth need look no further than Zinnie Harris’s Macbeth (An Undoing). Written and directed by Harris, it is a feminist version of Shakespeare’s original that puts Lady Macbeth at its center. But while Harris succeeds in expanding Lady Macbeth’s presence in the story, ultimately the playwright is defeated in increasing the character’s agency, given Shakespeare’s clear-cut trajectory of the doomed Queen.
Nelson Diaz-Marcano wrote Las Borinqueñas to honor Puerto Rican women, like his mother and grandmothers, who work hard, raise children and serve their communities. But his bilingual play’s awkwardly presented fact-based component—concerning the clinical trials for the first birth control pill, which were conducted in Puerto Rico in the 1950s—seems to get in the way of his affectionate personal portrait.
Brothers Bob and Tobly McSmith have created a cottage industry of musicals based—unauthorized, they always make it clear—on popular movies and TV shows of the past 30 years. They even have a cottage for their industry: the Theater Center at 50th and Broadway, where their new show Singfeld! A Musical Parody About Nothing has joined The Office! The Musical Parody and Friends: The Musical Parody in repertory.
The ranks of triple-threat musical theater writers—individuals responsible for book, music, and lyrics—are small. Michael John LaChiusa springs to mind, and Lionel Bart (Oliver!), Frank Loesser (The Most Happy Fella), and Sandy Wilson (The Boy Friend), but just try to think of others. Add to this exclusive club Francine Pellegrino, whose Molasses in January is premiering at the Theater Center. It’s an original book, based only on history—that of Boston’s molasses disaster of 1919, when a tank burst and sent syrup cascading through the streets, killing 21. Pellegrino is not overly experienced in any of these three skills, and she proves to be way better at one of them than the other two.
A newsreel about faith-based adoption restrictions on Jewish, Muslim and interfaith couples in the state of Texas plays somberly over a smooth jazz gospel concert at the start of The Crusade of Connor Stephens, a new play by Dewey Moss. In between the voices of newsreaders decrying the discriminatory new laws and the gospel choir, an evangelist preacher calls for us to repent our sins and come into the light of the Lord Our God. It’s enough to make a New York audience gag.
