The first scene of Halley Feiffer’s new drama is a bear trap. It seizes one’s attention and won’t let go. Feiffer, who stars as Cat, is having drinks and hors d’oeuvres with Guy, a restaurateur whose wife she has profiled for The New Yorker. He’s explaining to her his design of the Japanese restaurant they are in; as performed by Hamish Linklater, he is arrogant, charming, playful, insulting, and possibly dangerous. When he says to her, “I’m a serial killer,” and quickly follows it up with “I’m joking,” it’s not completely reassuring.
Florian Zeller’s play, The Mother, is subtitled “a black farce.” If that conjures images of slamming doors and maids running around frantically in their underwear, forget it. The frenzied activity in Trip Cullman’s highly stylized production is almost entirely provided by the great French actress Isabelle Huppert, and although she strips down to a slip and garters at one point to put on a sexy red dress, it’s not at all lubricious or funny.
Steven Levenson’s fast-paced and hilarious play, Days of Rage, opens in October 1969. America is riven. The war in Vietnam has taken more than 30,000 American lives. Martin Luther King Jr. and Bobby Kennedy have been assassinated. Twenty thousand mostly young people turned out to protest the war in Vietnam at the 1968 Democratic National Convention in Chicago, and police are assigned to contain and control the crowd at all costs. Eight of the protesters, later known as the Chicago Eight, were put on trial in late August 1969. Word goes out to bus protesters to the trial. Both the protesters and the Chicago Eight see the case as a way to put the nation itself, its racism and unjust war, on trial. Levenson’s powerful play focuses a sharp gaze at politics and the hidden volatility that can tip over into violence and the spilling of blood.