Being Mr. Wickham

Being Mr. Wickham

Jane Austen’s work has never been an easy read, but in the way she weaves her characters’ complex personalities into her novels she attempts to provide the reader a window into their early 19th-century English culture. Yet perhaps because of cultural and linguistic norms of the time, some characters are not easily accessible. Writers Adrian Lukis and Catherine Curzon jointly explore George Wickham in Being Mr. Wickham, giving the audience a social, parlor-like closeup—an almost intimate one—of the very man whom Austen vilifies in Pride and Prejudice.

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Orlando

Orlando

At the outset of Orlando, playwright-performer Lucy Roslyn says she discovered Virginia Woolf’s 1928 novel (also titled Orlando) at a “jumble sale” when she was 12. Roslyn, from England’s West Midlands, explains that a jumble sale is what Americans call a yard sale. She also mentions that hers is a Coventry accent and that Woolf’s Orlando, in successive editions, has been a treasured companion since she bought that flea-market paperback years ago.

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Primary Trust

Primary Trust

Eboni Booth’s Primary Trust is a tender and riveting play about trauma and the difficulties of human connection that is by turns funny and upsetting, and ultimately uplifting. Its power lies in Booth’s ability to avoid cynicism and create characters capable of genuine surprise, without veering into melodrama or oversentimentality. Director Knud Adams, who also directed Booth’s Paris at the Atlantic Theater in 2020, achieves a smart balance between naturalism and the unreality of a memory play, with a superb cast, led by William Jackson Harper in a performance of uncanny vulnerability.

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Romeo and Juliet

Romeo and Juliet

The National Asian American Theatre Company’s Romeo and Juliet may just go down as the season’s most misdirected production. Employing Hansol Jung’s modern-verse adaptation as its text, codirectors Jung and Dustin Wills no doubt intended to revamp Shakespeare’s tragedy by leaning into its comedy to point up the darker aspects. But what one gets is a travesty of the play.

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Waiting in the Wings

Waiting in the Wings

Waiting in the Wings is the sort of show that materializes every June with a gay-themed subject to celebrate Pride Month intentionally or obliquely. This adaptation of a 2014 movie, in which Sally Struthers, Christopher Atkins and Shirley Jones appeared, stars Jeffrey A. Johns, who wrote the screenplay and reprises his writing and acting roles for the stage.

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Hidden

Hidden

The turmoil of refugee family life following World War II—the traumas of escaping genocide, identifying the dead, and hunting for the missing—lingers until today. Holocaust survivors have often been separated by cities, continents, political and ideological barriers, and sometimes by religion. The postwar obstacles to reassembling family units are daunting. Mark Weiner’s compelling drama Hidden confronts the pain of that separation and the feelings of abandonment, loss, anger, and confusion that persist, even when those separated are reunited.

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Being Chaka

Being Chaka

Part ghost story, part coming-of-age drama, part memory play, Being Chaka—written by Tara Amber, Chuk Obasi and Nalini Sharma—is a provocative investigation into racism in America. The surreal plot centers on the character Chaka (Kahiem Rivera), a black 16-year-old transfer student at East Prep High School in Manhattan. As the action unfolds, the audience will see him continually shifting between reality and dreamscapes, with the line between the two worlds often blurring. 

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The Fears

The Fears

People can be damaged by those they love or admire. They can sometimes be repaired, too, with the help of others. And often the shared desire to be healed is a salve in itself. Such are the truths swirling beneath the meditation and mindfulness sessions on display in The Fears. It is a toss-up as to whether playwright Emma Sheanshang has crafted a strikingly sad comedy or a quite funny drama. The play’s seven characters all walk a fine line between comedy and tragedy. And because the action is set in a Buddhist center, they do so without their shoes.

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Tartuffe

Tartuffe

Lucie Tiberghien, artistic director of Molière in the Park, has scored a coup—an English-language world premiere of Tartuffe that uses Moliere’s uncensored version as its basis. Tiberghien’s production is the first English rendering to draw on a restoration of the original text by Georges Forestier that played in 2022 at the Comédie Française.

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Samuel Clemens: Tales of Mark Twain

Samuel Clemens: Tales of Mark Twain

“The human race has only one really effective weapon, and that is laughter.” The words are those of Mark Twain, né Samuel Clemens, and the philosophy gets a healthy workout in Samuel Clemens: Tales of Mark Twain, Joe Baer’s one-man retrospective of the life and works—but mostly the life—of America’s great author. Baer loves his subject, and he works up a worthy retelling of Clemens’s life and times. He might have labored harder to carry them into a modern perspective, but it’s still a pleasant, leisurely ride.

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A Gaga Guide to the Lower East Side

A Gaga Guide to the Lower East Side

Ron Lasko’s new immersive theater experience, A Gaga Guide to the Lower East Side, takes audiences on a walking tour of the Lower East Side to visit locations and venues that were frequented by pop star Lady Gaga during the start of her singing career.  

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God of Carnage

God of Carnage

The veneer of civilization is thinner than one hopes for in Yasmina Reza’s 2009 Tony-winning black comedy God of Carnage, admirably revived by Theater Breaking Through Barriers. The set-up is simple. Two couples are meeting after Benjamin, the 11-year-old son of one couple, hit Henry, the son of the other, with a stick and damaged two teeth. Henry’s parents, Michael and Veronica Novak (Dave Fazio and Christiane Noll), pressured him to reveal Benjamin’s name, and they have invited Benjamin’s parents, Annette and Alan Raleigh (Corey Cox and David Burtka) to their well-appointed home to exchange “statements” about the incident.

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Let Me Cook for You

Let Me Cook for You

Like René Magritte’s painting of a pipe with the sentence “Ceci n’est pas une pipe” (“This is not a pipe”) beneath it, Orietta Crispino writes “This is not about the past” on the wall behind her early in her solo show Let Me Cook for You. But over the next two-plus hours she talks a lot about her mother—deceased since 1994—as well as about the relatives she lived with growing up, her attempt at age 17 to meet the father she’d only recently learned was still alive, and the many times she has moved (at least 35 total in four different places in Italy and the U.S.). In other words: about the past.

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The Habit of Art

The Habit of Art

The great poet W. H. Auden had notable success working on the stage—he collaborated on choral works and an opera with Benjamin Britten and on plays with Christopher Isherwood. But Auden as a character has had a lively theatrical life too. Paul Godfrey’s 1990 play Once in a While the Odd Thing Happens examined Britten’s friendship with Auden in the 1940s. In 2012 the Off-Broadway musical February House featured them living in Brooklyn in the early 1940s, in a house with Gypsy Rose Lee and Carson McCullers. And now comes Alan Bennett’s play The Habit of Art, written in 2009 but making its New York debut as part of Brits Off-Broadway. It shows a declining Auden meeting his old friend Britten after a 30-year estrangement.

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The Knight of the Burning Pestle

The Knight of the Burning Pestle

Fiasco Theater, in a joint production with Red Bull Theater, takes on Francis Beaumont’s The Knight of the Burning Pestle, which was a flop when it premiered in 1607. Though it has been occasionally revived, the play is mostly of scholarly interest: Beaumont is best-known for his collaborations with John Fletcher, who succeeded Shakespeare as writer-in-residence of the King’s Men, but The Knight of the Burning Pestle is Beaumont’s only play written alone. If the comedy doesn’t offer up the richness or complexity of Shakespeare, Fiasco is clearly drawn to its story of topsy-turvy community-building through theater.

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Daughter of the Wicked

Daughter of the Wicked

The impending 75th anniversary of the declaration of Israel as an independent state has prompted many controversial discussions. Among them are retrospective conversations about the country’s early days and questions as to whether those who struggled to create a cohesive post-Holocaust multicultural society also permitted systematic mistreatment of some citizens. How, for example, is it possible to justify the abduction of Yemenite children and the resultant grief and trauma for their families? Daughter of the Wicked, Shanit Keter Schwartz’s solo autobiographical play, deals in large part with her Yemenite identity, her immigrant parents, and her search for her missing sister.

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Robin and Me: My Little Spark of Madness

Robin and Me: My Little Spark of Madness

Dave Droxler makes his living as an actor and voice-over artist, but he is also a gifted impressionist. His 2016 New York Fringe Festival show, Walken on Sunshine, was built around his masterly impersonation of Christopher Walken. Now Droxler has written a solo play, Robin and Me: My Little Spark of Madness, that showcases his equally spot-on impression of his idol Robin Williams.

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Regretfully, So the Birds Are

Regretfully, So the Birds Are

As the loopy title suggests, Regretfully, So the Birds Are is theater of the absurd. Julia Izumi’s play concerns three New Jersey siblings adopted from Southeast Asia by a Caucasian couple (Gibson Frazier and the incomparable Kristine Nielsen) who’ve refused to tell the children where they were born. The parents’ rationale is that, if their adoptive offspring don’t know where they come from, they’ll feel their “origins are the Whistler family” rather than separate, far-off countries.

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On the Right Track

On the Right Track

Tony Sportiello and Albert M. Tapper’s new musical comedy On the Right Track invites audiences to ride the rails on a New Jersey Transit train carrying three couples who have three very different problems. Sensitively directed by Mauricio Cedeño, the show is not only entertaining but edifying. It also reminds folks that “sometimes the key to happiness is simply a matter of knowing which door you want to open . . . and which one you want to keep closed.”

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Eleanor and Alice

Eleanor and Alice

It’s amazing how Alice Roosevelt, daughter of President Theodore Roosevelt, and her first cousin Eleanor, renowned wife of Franklin Delano Roosevelt (FDR), sustained a relationship for more than six decades, given their polar-opposite dispositions. Blood is not necessarily thicker than water, and yet these two disparate personalities—the former, a socialite and senator’s wife, and the other, a political force and humanitarian in her own right, do not sever ties. Eleanor and Alice: Conversations Between Two Remarkable Roosevelts, Ellen Abrams’s new play about that relationship, deals with these celebrated women’s close camaraderie from childhood through FDR’s death. 

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