The Red Bull Theater Company was founded in 2003 to present the talented playwrights of Shakespeare’s time who have been overshadowed by the Bard and bring their plays to new audiences. Among its productions have been The Changeling (Thomas Middleton and William Rowley), Women Beware Women (Middleton alone) and ’Tis Pity She’s a Whore (John Ford), as well as the occasional Shakespeare. In the years since, the mission has evolved into “classics” outside the 17th century as well—the company’s The Government Inspector, a Nikolai Gogol play of 1836, was one of its most exhilarating triumphs. Now Jeffrey Hatcher, who adapted the Gogol, has given an assist to Ben Jonson’s The Alchemist.
Morning Sun
Morning Sun by Simon Stephens is a multigenerational play about a mother, daughter, and granddaughter. Most of their story, both set in and serving as an homage to New York City, has been told before: mother-daughter conflicts, failed love affairs, and childhood friendships that don’t stand the test of time. Stephens has crafted fast-paced, staccato dialogue that moves effortlessly through decades to tell their story.
Morning’s at Seven
Paul Osborn’s play Morning’s At Seven is one of theater’s great rescues. A flop on Broadway in 1939, it was resurrected in 1980 by director Vivian Matalon, whose peerless production established it as a classic piece of Americana. It’s a gentle satire on small-town life, with busybodies and petty jealousies and snobbery, and although it’s as sturdily constructed as a Chekhov play, it’s not as dark. There may be conflicts, but the characters have more fun—and are fun to be around.
Nollywood Dreams
Jocelyn Bioh’s School Girls; or the African Mean Girls Play was a huge hit for MCC Theater when it premiered in 2017. Set in an all-girls Ghanaian boarding school, the play offered a trenchant examination of teen bullying, fat-shaming, and colorism, and it showed that the United States does not corner the market on adolescent cruelty. Nollywood Dreams, Bioh’s play currently running at MCC, focuses on the Nigerian film industry, but it similarly demonstrates that shady business practices, cutthroat competition, and rabid celebrity worship are not exclusive to Hollywood.
A Commercial Jingle for Regina Comet
What do you get when you throw two struggling souls in search of success together in a high-stakes campaign to rebrand an assertive, middle-aged, ex-pop icon named Regina Comet? You get two talented but anxiety-ridden young men, reaching for the stars and stumbling all over each other in semi-slapstick style. They also search for their own awakened, perfected selves as they strive to create the ideal jingle to launch Regina—and her fragrance line—back into the mainstream.
Trevor: The Musical
Back in 1995, the Oscar for Best Live Action Short went to the edgy comedy Trevor. Set in 1981, it chronicles a 13-year-old boy’s suicidal tendencies and homosexual awakening, complete with clueless parents, a worrisome priest and plenty of Diana Ross fanboying. The screenwriter, Celeste Lecesne, would go on to co-create The Trevor Project, the LGBTQ suicide-prevention nonprofit, as well as to pen and perform the delightful solo show, The Absolute Brightness of Leonard Pelkey.
Tammany Hall
You may remember Soho Playhouse before the pandemic. Located in an antebellum row house just off Sixth Avenue, it often featured solo and Fringe Festival plays in its careworn mainstage theater or cabaret downstairs, its stairwell adorned with framed posters of shows that had played there.
Autumn Royal
There’s a moment early in Kevin Barry’s darkly comic Autumn Royal, currently running at the Irish Rep under the direction of Ciarán O’Reilly, when siblings May (Maeve Higgins) and Timmy (John Keating), both in their 30s in Cork city, Ireland, realize that the current predicament of caring for their psychotic, decrepit, slowly dying father might have no end in sight.
Brecht on Brecht
German poet and playwright Bertolt Brecht (1898-1956) was a world traveler—not by choice, but by conviction. His larger-than-life, highly controversial career caused him to flee Nazism and take refuge in several countries before he was granted permission to settle in the United States. The Theater Breaking Through Barriers (TBTB) production of Brecht on Brecht tracks the playwright’s odyssey using his songs and writings, which include The Threepenny Opera, The Life of Galileo, and Mother Courage and Her Children.
Mrs. Warren’s Profession
Kitty Warren, title character of Bernard Shaw’s Mrs. Warren’s Profession, is a madam with heart, though not the proverbial heart of gold. As a single parent, she’s prepared to spend any amount of money to shield her daughter from society’s censure; but she doesn’t intend to abandon her own lucrative career as a sex worker.
Chasing Jack
Chasing Jack, by John S. Anastasi, is the story of a man willing to lose it all for the thrill of throwing the die. Dr. Jack Chase (played with boundless energy by Emanuele Secci) is a tireless cardiac surgeon who appears selfless but has one too many skeletons in the closet. The biggest one—a gambling addiction—can no longer remain hidden, and, after losing a patient, he finds himself in court.
Persuasion
The theatrical troupe calls itself Bedlam, and that may be putting it strongly, but they sure do gad about onstage. Bedlam’s latest endeavor, Sarah Rose Kearns’s adaptation of Jane Austen’s final novel, Persuasion, is currently fizzing all over the Connelly Theater stage, offering many diversions—few of them, unfortunately, having much to do with Jane Austen.
Sanctuary City
The programs handed out at Martyna Majok’s Sanctuary City, produced by New York Theatre Workshop and presented at the Lucille Lortel Theatre, note that they have been “frozen in time”: they were printed for the play’s original run, which began in March 2020, and are now accompanied by a QR code providing updated information. This new information includes a remount director, Caitlin Sullivan, in addition to the original direction by Rebecca Frecknall.
What Happened?: The Michaels Abroad
It finally dawned on me that theater was back in New York City when I was once again in the presence of characters in a Richard Nelson play as they sliced bread, grated cheese, sipped wine, and had conversations that made you feel like an eavesdropper more than an audience member.
Merry Wives
Farce, with its antic misunderstandings and confused identities, can polarize audiences. Spectators may either be exhilarated by the pandemonium or left cold. With Merry Wives: A Celebration of Black Joy and Vitality, the sole production of this summer’s Free Shakespeare in Central Park, playwright Jocelyn Bioh gambles that, after a year of societal strife, she can unify audiences by updating William Shakespeare’s rambunctious farce The Merry Wives of Windsor.
Friends: The Musical Parody
If you’ve never watched Friends, the TV megahit that aired from 1994–2004, that wouldn’t preclude you from enjoying Friends: The Musical Parody. It’s hysterically funny, and concisely captures the idiosyncrasies of every one of the six characters who provokes, pairs off with, or parts ways with another.
Charmed Life: From Soul Singing to Opera Star
Many an autobiographical solo show has been born from hardship— growing up closeted, say, or having an intolerable job, or living through a war. Lori Brown Mirabal’s jumping-off point is the complete opposite. It’s right there in her show’s title, Charmed Life: From Soul Singing to Opera Star.
Fruma-Sarah (Waiting in the Wings)
In Fruma-Sarah (Waiting in the Wings), the multitalented Jackie Hoffman portrays Ariana Russo, a barely talented amateur actor who is literally and figuratively at the end of her rope. Stuck in the minor role of the ghostly and ghastly Fruma-Sarah, in a community theater staging of Fiddler on the Roof in Roselle Park, N.J., she must spend the first “hour and seven minutes” of the show offstage, strapped in her flying harness and waiting for her cue to soar.
Voyeur: The Windows of Toulouse-Lautrec
Voyeur: The Windows of Toulouse-Lautrec explores the life of Henri de Toulouse-Lautrec, the immensely talented 19th-century French painter and printmaker, using the sidewalks, doorways, and windows of Greenwich Village as the setting for a “pandemic-friendly theatrical experience.” Live performance, puppetry, music and a short black-and-white film combine to help the site-specific production tell the story of the artist who captured the seamier side of the Belle Époque.
The Siblings Play
In mid-March, as the novel human coronavirus steamrolled New York City, Rattlestick Playwrights Theater had to pull the plug on Ren Dara Santiago’s The Siblings Play. The production, directed by Jenna Worsham, was nearing the end of previews, with four days to go before opening night.