There are two Isidores in the Catholic canon of saints: Isidore the Farmer, a simple 12th-century workhand and the patron of farmers and laborers, and Isidore of Seville, a 7th-century scholar who attempted to document the entirety of human knowledge and is patron saint of the Internet. Both Isidores haunt Martín Zimmerman’s Seven Spots on the Sun, a moving anti-war polemic now playing at Rattlestick Playwrights Theater, which charts the lingering depredations of civil conflict on the dispossessed members of an imagined Latin American village.
Arlington
Few contemporary playwrights embrace the “one for me, one for them” trajectory as starkly as Enda Walsh. The prolific Irish writer/director alternates between loony, incisive chamber psychodramas (Misterman, Ballyturk) and loony, broad crowd-pleasers (Once, Roald Dahl’s The Twits, Lazarus) with a panache that marks him as a distinctly 21st-century artist, hard to pin down and adept at re-invention. His latest St. Ann’s Warehouse transfer, Arlington, sits firmly in the former camp, stretching his trademark idiosyncratic investigation of the effects of isolation on wild, creative minds toward exciting new abstractions.
Marry Harry
Marry Harry revives a genre not much seen in these parts lately, the charm musical. The work of Jennifer Robbins (book), Dan Martin (music), and Michael Biello (lyrics), the show is small and hasn’t much on its mind, just the urge to put a few likable characters through a simple story and send its audience out with a collective feeling of “Aww.” Thanks to an attractive production on the intimate York Theatre stage and an overqualified cast, it gets its “Aww,” though it also earns a couple of orders of “You can’t be serious.”
Festival to have two-month run
The 2017 United Solo Theatre Festival, the world’s largest festival of solo performances, will be held at Theatre Row (410 W. 42nd St. between 9th and 10th avenues in the studio theater) from Sept. 14 to Nov. 19. The festival presents renowned artists and new talents featured in local and international shows. Performance genres range from drama, storytelling, puppetry, and multimedia shows to stand-up, magic, improvisation, dance, and musical. For tickets ($37.50) and information visit http://unitedsolo.org/us/ufest/.
Fossils
Bucket Club’s inventive Fossils is one of the quirkier Brits Off Broadway 2017 entries so far, with its plastic dinosaur people and range of questionable accents. If the script doesn’t equal the rich world that the company conjures through sound and light, the play is still a beautiful reminder of the diverse material that Britain’s robust training system and government arts subsidies can produce.
Dead End
Remember the Dead End Kids? Possibly not, unless you’re a student of B-movie genres or a Turner Classic Movies junkie. But the kids, led by Billy Halop, Leo Gorcey, Huntz Hall, and Gabriel Dell, enjoyed a film career starting in the Depression—cracking wise, getting into scraps, peddling broad Noo Yawk accents, and challenging authority. The kids prospered at several studios, well into the 1950s and long past being kids. To many a moviegoer in flyover states, the Dead End Kids were New York.
The Roundabout
British playwright J. B. Priestley is best known for An Inspector Calls, his 1945 play that Stephen Daldry revived in a revelatory production in 1992 in London and in 1994 on Broadway. There followed for the neglected Priestley occasional Off-Broadway revivals of his works: in New York, Dangerous Corner in 1995, and Time and the Conways in 2002, both family dramas that played with time, and The Glass Cage, a splendid family play set in Canada, presented by the Mint Theater in 2008.
Baghdaddy
A night at the newest production of Baghdaddy might begin with a cup of coffee, a doughnut, and a name tag. From the start, the audience is thrown right into the midst of Marshall Pailet and A.D. Penedo’s punchy political musical. Actors sit in the audience, and audience members sit on the stage as the show begins with a support group for the CIA operatives and others who played a role in starting the war in Iraq.
Hamlet. A Version
Boris Akunin’s Hamlet. A Version reimagines Shakespeare’s classic tale of political intrigue as a multi-layered murder mystery. Akunin, a Russian writer best known for his Sherlock Holmes–like character Fandorin, which has a cult following, does not write just for thrills. His Hamlet is a tragedy but also a whodunit.
The Antipodes
Annie Baker loves to write sad men. From dropouts KJ and Jasper in The Aliens to lonely movie geeks Sam and Avery in 2014 Pulitzer Prize–winner The Flick, Baker’s plays are populated with lovable losers who can’t quite figure out what they want out of life, and probably wouldn’t be able to get it if they did. The awkward silences that punctuate her comedic quasi-dramas are electric with lost futures, crippling insecurity, and unspoken desires
Samara
There’s a neon display over the mezzanine bar in the spanking new A.R.T./New York Theatres on 53rd Street that reads, “Why are you here and not somewhere else?” It’s an apt distillation of Richard Maxwell’s eccentric Samara, which has just opened there. Maxwell’s odyssey, artfully wrangled by Soho Rep Artistic Director Sarah Benson, invokes the ghosts of Shakespeare and Brecht to question the very notion of making and attending theater.
Luft Gangster
Lowell Byers’s play Luft Gangster was inspired by the real-life story of Louis Fowler, a waist gunner during World War II. The play opens on a tender scene between Lou (played by Byers himself with a wonderful mix of stoicism and sincerity), and his mother, who is clearly sick or mentally ill. Louis’s father is long dead, and when his mother dies, he enlists to fight. His plane is shot down and he is captured and interrogated by the Nazis, but they don’t get a word out of him. At first he’s put in a makeshift holding cell where he is joined by another flier, Joe, played with a wonderful earnestness by Sean Hoagland, who doubts they’ll get out alive. Lou tells him, “I don’t think it’s my time to go.” Joe retorts: “I just hope they know that.”
Angel and Echoes
The theater has not been kind to the English port city of Ipswich lately. Alecky Blythe’s documentary musical London Road, a huge hit for London’s National Theatre and recently made into a film featuring a singing Tom Hardy (no, really), shows Ipswich’s working class to be petty and vindictive. In the revival of Henry Naylor’s Echoes, part of a double bill with new play Angel at the Brits Off Broadway festival, Ipswich is such a “dungheap” that it drives two women into the arms of religious extremists in Afghanistan and Syria. Compared to the hellscapes in which the women of Naylor’s “Arabian Nightmares” find themselves, though, Ipswich is the Garden of Eden.
The William Inge Plays
Halfway through Picnic, the 1953 William Inge comedy-drama playing at Judson Gym (in repertory with Inge’s Come Back, Little Sheba), a hunky vagabond named Hal fidgets disconsolately while posing for a quick-sketch portrait. When the artist, thwarted by Hal’s restlessness, urges him to relax and be “natural,” Hal laments, “Gee, that’s hard.”
The Profane
Secularism and faith square off in Zayd Dohrn’s The Profane, a play that takes as its focus two American families of Middle Eastern extraction. The premise is that a young couple from different backgrounds have fallen in love: It’s Guess Who’s Coming to Dinner? with a 21st-century spin. Dohrn hasn’t strayed far from the formula, which includes parent-child friction, sibling rivalry and the occasional dollop of comical culture clash.
Arabic play readings set at CUNY
The Martin Segal Graduate Center at CUNY will host a day of free readings of Arabic plays on April 19. The Wednesday lineup at the Segal Theatre (365 Fifth Ave. at 34th Street) starts with The Adventure of the Head of Mamlouk Jabir (1971) by Sa’dallah Wannous of Syria, followed at 2 p.m. by The Dictator (1969) by Issam Mahfouz of Lebanon. The third reading, at 6:30 p.m., will be The Flipflaps (1964) by Yusuf Idris of Egypt, and it will be followed by a panel discussion. The events are on a first come, first served basis.
TACT plans May 8 gala
The Actor’s Company Theatre (TACT) will present its spring gala on May 8 at the University Club of New York (1 W. 54th St.). The fundraiser will honor four women: Alice Ripley, Theresa Rebeck, Elizabeth McCann and Nelle Nugent. The event will begin with a cocktail reception at 6:30 p.m., followed by dinner, a live auction, and entertainment by singer Liz Callaway. TACT is a company of theater artists that reveals, reclaims, and reimagines great plays of literary merit, To purchase tickets for the 2017 Spring Gala, call (212) 645-8228 or email info@tactnyc.org.
Panel on Hungarian dramatist planned
A special panel discussion about Hungarian playwright George Tabori will be held at 6 p.m. Wednesday, April 26, at the Museum of Jewish Heritage, 36 Battery Place. The panel on the satirical playwright is a prelude to the presentation of his two works, Mein Kampf and Jubilee, that are scheduled in repertory May 4–21 at Theater for the New City (155 First Ave., between 9th & 10th streets. The panel will include frequent Tabori producer Wynn Handman; critic and author Jonathan Kalb ; Lincoln Center Library for the Performing Arts Assistant Theatre Curator Annemarie van Roessel; American composer Stanley Walden (who collaborated on more than 50 Tabori projects), and Lena Tabori, the publisher of Welcome Books. To RSVP to this free event, write to contact@taboriproject.org.
Roundabout casino fundraiser scheduled
The Roundabout Theatre Company has scheduled its third annual Casino Night fundraiser for Monday, May 8, at 6:30 p.m. The gala will be held in the penthouse lobby at the American Airlines Theatre, 227, W 42nd St. The proceeds will benefit Roundabout’s programs, including the Education programs, the Theatrical Workforce Development Program and the Musical Theatre Fund. The casino event will include a Texas Hold ‘em poker tournament featuring celebrity players and Roundabout alumni, including World Series of Poker winner Jennifer Tilly, Sebastian Arcelus, John Behlmann, Stephanie J. Block, Santino Fontana, Byron Jennings, and Laura Osnes. There will also be open casino games, such as blackjack, roulette, craps and slot machines. Tickets starting at $500 are available by calling (212) 719-9393, ext. 369, or visiting www.roundabouttheatre.org/casinonight.
Russian play of 1929 set for reading
The Parts Unknown reading series will present a free reading of the 1929 Russian play The Conspiracy of Feelings, at 7 p.m. on April 20. The play, by Yurii Olesha, is based on his own novel, Envy, and is a satiric look at capitalism and communism. The reading, with a cast of 13, will be held at the New York Public Library at 18 W. 53rd St. For information and reservations, visit voyagetheatercompany.org/parts-unknown-reading-series-2017/.















