When people ask, “What’s so great about New York?” the answer comes down to how this city uncannily combines creativity, variety and […]
A series of text messages from unrecognizable numbers appeared on my phone the day we were scheduled to visit PARADISO: Chapter 1, […]
What I especially like about West and was clear in SEX is that she was a woman who was going her own way, at all times, no matter where she might be going or what she might be talking about. A truly independent woman of her time (call her a feminist if you like, I prefer simply considering her a strong-willed creative “person” fearlessly standing up for what she wanted in her life and art) in SEX West explores not just the plight of prostitutes but the question of fate for all her characters trying to live with the choices they make.
Not so much modernized (though there were a few moments of that to be sure) as “abridged” and “revised,” in wholly wild ways The Complete Works Of William Shakespeare (Abridged) (Revised) presented on the outdoor stage of The Shakespeare Theatre Of New Jersey, is a spectacular hour and half hour romp ‘round The Bard. Starring Jon Barker, Connor Carew and Patrick Toon we have here a trio equal to the task of making and having fun with this heady well-revered cannon. Truncating running times, running riot round logic (and the two book tower set), making merry by rapping, enlisting audience participation, doing a mock of the terribly tagic Titus Andronicus, via Guy Fieri’s “Diners, Drive-Ins and Dives” Barker, Carew and Toon keep things ever moving, to an often exhausting revelry, in Adam Long, Daniel Singer and Jess Weinfield’s very clever play.
With a seldom-shrinking spark of curiosity and an ever-growing adventurous spirit, I decided to take in a couple of the city’s interactive […]
It should’ve been a slam dunk as far as I was concerned; I love Ed Harris and the play was a revival of Sam Shepard’s classic “Buried Child,” playing down at one of our fair city’s very best and newest venues, The Pershing Square Signature Center. Well, I wasn’t disappointed in the new and comfortable Alice Griffin Jewel Box Theatre, nor was I in Mr. Harris (who I actually shook hands with in that gorgeously appointed lobby of the Pershing post show…he couldn’t have been nicer) his wife Amy Madigan as the reality-ignoring semi-shrew Halie, Larry Pine’s quick yet rich turn as Father Dewis, Rich Sommer’s scary yet broken Bradley, seemingly dim-witted but wiser-than-most here Paul Sparks, Nat Wolff eating scenery as Vince and Taissa Farmiga, who manages a performance as stunning in its way as Harris’; Derek McLane’s set design was especially real and at times claustrophobic and director Scott Elliott keeps the action tight pretty much on the couch or on the floor most of the time.
Malcolm Gets and Matt McGrath you truly need to get your ass down to The Pershing Square Signature Center (as much for this limited off-Broadway engagement as to see The Pershing Square space!) and see this hour and almost one half one-act before it closes two days after Christmas.
Takei gets the best humorous moments (and yes there are some even in a play as heavy as this) and his ending scene will bring tears to your eyes (if you aren’t crying before) but the rest of cast here is a delight from the stunning Lea Salonga with her gorgeous pipes, Telly Leung and Christòpheren Nomura to too many others to name here.
For those poor New Yorkers inevitably being dragged down to Times Square this time of year in the joy-killing grip of friends […]
Headed by writer Mikey Craighead (who starred in it as well) O’ Save Us St. Sophia was certainly a highlight of the just past 2015 Fringe Festival. As well as Craighead the cast here included Sophie Parens, Zak Kelley, Julian Thomas, Rebecca Bialostozky, Katy Roth, Emily Ashenden. I mention them all together not because each and every one of their performances are not worth mentioning singularly, but because this ensemble infused the play so completely with their aplomb the entire delicate hour and half dance (or so) one act couldn’t have worked without each performance being as spot-on as it was.