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It seems like ever since the Coen Brothers started crafting plays for Off-Broadway, Off-Broadway, in response, has started crafting Coen Bros. movies for the stage. Richard Taylor's dark comedy for the Apothecary Theatre Company is no exception, which is not to say it's not an engaging, tightly-directed piece of theatre in its own right. It's just that, in the inimitable Coen Bros. style, graves are dug and bodies fall from the sky in the new play, In God's Hat.
Valentine’s Day, roses, a card and romance fill the air as Tom prepares for a romantic evening at home with his girlfriend of 9 years, Cindy. While Tom is setting up and waiting for Cindy to come home after work, a knock at the door reveals Dusty, Tom and Cindy’s high school friend who has reappeared after a 12-year absence. What starts out as a friendly conversation about catching up and discovering where Dusty has been and what he has seen along the way, turns into a disturbing reunion when Cindy comes home and unexpectedly sees Dusty standing in her living room. It turns out that they were a couple back then.
Although Joe Pintauro may not be a playwright who instantaneously leaps into the consciousness when discussing the modern masters, it's admirable to think that nearly every piece with his name on it ever presented for the stage has made a sizable splash in its debut, and more often than not in revivals as well. A recent example of same is his Raft of the Medusa, presented by the Secret Theatre in Astoria and not only gloriously directed by Alberto Bonilla, but featuring one of the most talented ensemble of actors enjoyed by this writer in many a moon. One might think, in our present age of medical advances towards combating HIV/AIDS,
Tony Award Winner Joe DiPietro's latest offering (he wrote Memphis), puts a new spin on the real first couple and procreation. With Angels Sarah (Jennifer Blood) and Michael (Nehal Joshi) as narrators never far behind, droll matter-of-fact God (Adam Kantor) tells it like it is in a swinging pop opening "God, It's Good To Be Me" – "when you are the architect, you get respect!"
It comes as no surprise that the Off-Off-Broadway movement has for almost five decades unleashed some of the finest performers and playwrights of all time upon the globe. And Theatre for the New City has endured for nearly forty of those years as an undisputed champion of same; just a handful of their playwrights past and present have included Sam Shepard, Robert Patrick, Maria Irene Fornes, Lanford Wilson,
The Little Sisters of Hoboken are back where they started in this 25th Anniversary revival of Dan Goggin’s celebrated musical. After debuting as a cabaret show at the Duplex in Greenwich Village, it transferred to the Cherry Lane Theatre in 1985, where it currently has been reinstated as part of the theatre's Heritage Series. After a good ol’ Mt. St. Helen’s cheer, the impertinent, irreplaceable nuns are, once again, up to their antics of putting on a benefit to bury the four remaining sisters, from the original 52, who fell over dead into their soup, poisoned by Sister Julia, Child of God, while these five were off playing Bingo. The four deceased sisters are currently stuffed in a freezer awaiting their final resting place.
Words, like blades, can cut you to the quick. And “quick” in adjectival form was the length of the limited run of Pen Knife, but its impact has stayed with me, and I’d love to see this intriguing drama return. A pen knife can be a knife to sharpen a quill pen or a knife blade hidden in what appears to be a pen. Either is appropriate for the world of those 19th century French writers, Arthur Rimbaud and Paul Verlaine, and their dysfunctional, competitive, addictive and abusive relationship, included injuries to the skin with that item that gives its name to the play. And what a play it is: the toying of cat against mouse, the hope against hope, the rebellions against societal expectations.
At the very end of a New York theatrical season that has been self-admittedly dismal at the least, it is truly both shocking and pitiful that Bob Andron's comedically-wondrous play, White's Lies, has been closed with seemingly no warning after promising to remain into July at the earliest. The script infused a true breath of fresh air into the New World Stages (340 West 50th Street, a multi-box complex which also houses Avenue Q and Naked Boys Singing) and not only brought such long-missed actors as Tuc Watkins and Peter Scolari back to the New York scene, but provided a dynamite showcase in which the legendary Betty Buckley was permitted to strut her stuff without singing a note and prove her depth as a non-musical thespian.
Missing the Big Top and Ringmaster, this is a circus of business as usual...clowns, jugglers, contortionists with some extra-added attractions, some quite dazzling, others yet to be determined. Creator/director David Shiner has chosen to configure Cirque du Soleil with a storyline. That’s the TBD aspect! It all takes place at the newly restored Beacon Theatre on Manhattan’s Upper West Side.
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