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.
In 2021, Sam Kissajukian created 300 large-scale paintings over only five months. This astonishing creative output is even more mind-boggling because Kissajukian wasn’t a trained or practiced artist—he was a stand-up comedian who had become disillusioned with the profession and moved into isolation in a windowless concrete warehouse. And, it turned out, he was experiencing a prolonged manic episode as a result of undiagnosed bipolar disorder.
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.
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.
