Reality Curve Theatre of Vancouver is making its first visit to New York City with Zayd Dohrn’s early play Reborning. Ten years ago, when Dohrn was unknown, this unsettling, if far-fetched, comedy-drama was part of the Summer Play Festival at the Public Theatre. Since that time, the playwright, who heads the graduate dramatic-writing program at Northwestern University, has penned a number of provocative yet non-preachy scripts that explore social issues through clashes—always fierce, sometimes violent—among recognizable characters.
The premise of Barabbas, Will T. F. Carter’s new play currently in production at the Theater for the New City, is certainly intriguing. Set in a Peruvian prison during a period of insurgency and guerrilla warfare, the drama uses the story of Barabbas and Jesus to explore topics such as self-preservation, personal sacrifice and forgiveness. Unfortunately, the drama, which centers on the Sendero Luminoso (or Shining Path) revolutionaries in 1980s Peru, never ignites any sparks.
Set on Midsummer’s Eve (June 23), Micheál mac Liammóir’s The Mountains Look Different is about a woman’s attempt to reinvent herself through marriage following years of working as a prostitute in London. First performed at the Gate Theater in Dublin, the noted Irish actor’s play was applauded for its openness by critics and audiences in 1948, but it was also disdained by the God-fearing and narrow-minded Catholic community. However bold it was then, by today’s standards director Aidan Redmond’s revival offers audiences little more than a diorama, a 3-D representation of a bygone era.
Theatre Breaking Through Barriers (TBTB) is celebrating its 40th anniversary with a production of a new work by Bekah Brunstetter, Public Servant. The play is set in a small town in central North Carolina, a state that the native Brunstetter has previously focused on in dramas such as Oohrah! and The Cake. Following the TBTB mission statement, Geordie Broadwater’s first-rate production features both abled and disabled actors.
Playwright Gordon Dahlquist’s [Veil Widow Conspiracy] wields those unnecessary, pretentious brackets as a warning, perhaps, that there’s a lot of extraneous information in his overstuffed 75-minute play. Set in three locations, the National Asian American Theatre Company production opens on a couple who are seemingly sheltering from some dire events outside, primarily conveyed through sirens. It’s an apocalyptic Brooklyn, but too briefly and sketchily presented to capture one’s interest.
It’s just a side benefit to an already crackling evening, but if you see Handbagged, the latest in 59E59’s Brits Off Broadway series, you’ll also take in snippets from several current Broadway offerings. The 1981 Irish hunger strikes (The Ferryman)? They’re here. Rupert Murdoch’s takeover of several Brit tabloids, beginning with the Sun in the late ’60s (Ink)? Also here. And The Cher Show may present three different-aged Chers, each commenting on the others, but Handbagged, Moira Buffini’s 2010 play having its New York premiere, makes do with older and younger versions of Queen Elizabeth II and Margaret Thatcher, each interacting with the past and present and occasionally murmuring, “I didn’t say that.”
Donald Margulies’s new play, Long Lost, almost revels in overly familiar plot elements. Focusing on two brothers who haven’t seen each other in years, Margulies draws on the good brother/bad brother dynamic of the Cain and Abel story; it pops up in Hollywood films as different as Arsenic and Old Lace and Legends of the Fall, but perhaps most pertinently in Duel in the Sun, where the brothers form two points of a love triangle. Here the siblings are David (Kelly AuCoin), a successful consultant, and his older brother, Billy (a gray-bearded Lee Tergesen). In Margulies’s story. David’s wife Molly (Annie Parisse) glancingly forms the third point. But another oft-mined trope is also at play: the stranger who arrives in a settled household and disrupts it is a staple of drama from The Playboy of the Western World to Picnic.
Original Sound, deftly written by Adam Seidel, explores the idea of what it means to be an original music artist in the age of the Internet, which has made it easy to borrow pieces of others’ work (“sample”) and use in your own. At the center of the story are Danny Solis (the sublime yet down-to-earth Sebastian Chacon), a Nuyorican mix artist who is having a hard time getting by in life because all he wants to do is make music, and Ryan Reed (Jane Bruce, a talented singer/songwriter in her own right) who is an upcoming star with a recording contract.
Posting Letters to The Moon brings a heartfelt performance to the Brits Off Broadway festival at 59E59 Theaters. Compiled by Lucy Fleming, the daughter of British actress Celia Johnson and an actress herself, Posting Letters to The Moon is a reading of letters between her parents during World War II. Johnson, best known for the 1945 David Lean film Brief Encounter, for which she was nominated for an Oscar, was married to Peter Fleming, an accomplished writer and explorer; he was also the brother of Ian Fleming, the creator of James Bond. Lucy Fleming and her husband, Simon Williams, an actor best known as Mr. Bellamy in Upstairs, Downstairs, read the parts of her parents.
Red Bull Theater’s new production of Shakespeare’s Macbeth—restyled Mac Beth and originally staged at the Seattle Repertory Theatre—is an exciting theatrical experience that injects fresh energy and immediacy into the oft-performed and oft-read play. It strikes a good balance between faithfulness and innovation, and its central conceit never feels like an interpretive fad or a new-for-the-sake-of-new device.
Socrates begins at the end, with the famed philosopher already dead, and Plato, his most famous student, trying to understand why. Giving away the ending is always risky, but in playwright Tim Blake Nelson’s hands, the story becomes a type of metaphysical puzzle. The question isn’t who did it—Plato tells us up front it was the city of Athens—but how a supposedly great civilization could so easily eradicate a great mind, especially one who went to great lengths to disavow his greatness.
Two is company, three’s a crowd, and being alone is unbearable in the New Group’s world premiere of Jesse Eisenberg’s latest comedy-drama, Happy Talk. Unfolding across a series of confrontations where, more often than not, two characters, deep in conversation, are interrupted by the needs of an intrusive third, this play tracks the lives of some strong women and a weak man, all of whom are at the end of their collective rope.
The goose and rabbit who have been delighting audiences on Broadway in The Ferryman now have some competition in the nonhuman actor category: the sheep who graces the stage for much of Signature Theater’s revival of Sam Shepard’s Curse of the Starving Class. It’s clear from the startling outset, when the walls of the dilapidated kitchen crack and break apart, that things aren’t going to end well for human and nonhuman alike. And the play implies that the divide between human and animal isn’t as stark as we would like to imagine
The Ensemble for the Romantic Century puts together hybrids of theater, classical music—both vocal and instrumental—and readings of letters or diaries to create its productions. For Hans Christian Andersen, its latest offering, the group has increased the hybrid entertainment by adding puppetry for its story of the life of the great Danish fairy-tale writer: marionettes, hand puppets, and some that are much larger.
The prison drama has a familiar formula: the grizzled veteran nearing parole, the hotheaded younger inmate spoiling for a fight, the wary authorities, the well-meaning outsider taking up the inmates’ cause. The difference with Cori Thomas’ Lockdown is a) it’s Rattlestick Playwrights Theater 2019, not Warner Brothers 1931, and b) it addresses contemporary, unsettling issues about incarceration, social inequity, and what awaits anybody getting out of stir.
A British celebrity cook’s life isn’t so camera-perfect in Torben Betts’s Caroline’s Kitchen, a U.K. transplant now playing in 59E59 Theaters’ Brits Off-Broadway festival. The high-tension new play centers on BBC cooking host Caroline (Caroline Langrishe), the “darling of Middle England,” whose privileged life goes up in flames over the course of an evening—along with the roast.
The Irish Repertory Theatre’s Sean O’Casey Season concludes with The Plough and the Stars, whose title is synonymous with the flag for the Irish Citizen Army. The last of O’Casey’s trilogy, which includes The Shadow of a Gunman and Juno and the Paycock, has joined the other two in repertory, and it’s a rougher, more jagged experience. Like the others, it takes place in a tenement; here the numerous characters move in and out of the parlor of Nora and Jack Clitheroe.
Paul Swan, an oddball of bygone Manhattan, is the protagonist of Claire Kiechel’s new play, Paul Swan Is Dead and Gone. The playwright is Swan’s great-grandniece, though too young to have known him. She has assembled an ambitious theater piece, more fantasia than drama, that depicts his story of self-invention.
Two years ago, S. Asher Gelman made a splash with his first play, Afterglow, which examined a threesome of gay men. Scheduled to take advantage of Gay Pride month, it ran well over a year. Gelman’s second play, Safeword, has more challenging subject matter. The title comes from BDSM, which is, for those who haven’t read Fifty Shades of Grey, bondage and discipline (BD) and sadomasochism (SM).
The promise of better living through chemistry is put to the acid test in Dr. Jekyll & Mr. Hyde, a sincere, occasionally scary, and often jovial adaptation of the classic 1886 Robert Louis Stevenson tale. The play won the 2018 Fringe Encore Series Outstanding Production Award and now returns to the Soho Playhouse for a six-week victory lap.