Michelle Kholos Brooks writes powerful dramas about salient issues. Together with director Sarah Norris, she has created a viscerally, emotionally gripping tableau of remembrance. With maximum impact, Kholos Brooks’s Room 1214 hits gun violence out of the ballpark.
In The Blood Quilt by Katori Hall, four half-sisters gather a few weeks after their mother’s funeral for an annual rite of stitching a quilt. As they congregate in their childhood home, the quartet of archetypal characters rehash old conflicts with their different personalities and views of tradition.
We Are Your Robots, composed and performed by Ethan Lipton, is the perfect answer to the question “What do humans want from their machines?” Directed by Leigh Silverman, this musical about artificial intelligence arrives at the Polonsky Shakespeare Center like a breath of fresh air.
When aging genius Orson Welles and actor Sir Laurence Olivier meet in Ireland after many years, each brings his own “baggage” and sparks fly. Add to them the characters of theater critic Kenneth Tynan; Vivien Leigh, Olivier’s almost ex-wife; Joan Plowright, Olivier’s new woman; and an audacious Irishman, and play production bedlam prevails. With Orson’s Shadow, playwright and director Austin Pendleton, together with his codirector David Schweizer, has created a masterpiece that qualifies as much as comedy as it does drama.
Artemisia Gentileschi, the real-life subject of Kate Hamill’s uneven new drama The Light and the Dark, survived rape and a harrowing experience at her assailant’s trial to become the most accomplished female painter of the Renaissance. While Hamill’s approach to telling Gentileschi’s life story is ill-conceived in places, the playwright understands its power as a triumph over patriarchy.
A dystopian story about environmental catastrophe and death is not necessarily where one would expect to find humor, but Kate Douglas achieves a darkly comic triumph with her new play, The Apiary. The production at Second Stage Theater fires on all cylinders, including Kate Whoriskey’s superb direction and the uniformly stellar cast, who navigate the play’s mixture of absurdity and sincerity with precise and convincing performances.
Elevator Repair Service (ERS), the adventurous downtown troupe known for theatrical adaptations of iconic modernist works, is parodying Edward Albee and Tennessee Williams in a new play by Kate Scelsa that has the cleverest title in town—Everyone’s Fine with Virginia Woolf. The production is directed at breakneck speed by the company’s founder, John Collins. It features visuals by Louisa Thompson (scenery), Amanda Villalobos (properties), and Kaye Voyce (costumes) that give the proceedings the kitsch-cluttered aesthetic that’s an ERS signature.
