Dirtying up a beloved childhood icon is one of the most reliable comedic formulas available to comic artists; it also tends to be a reliable formula to get sued.
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Category: Look Over Yonder See Them OFF-BROADWAY Lights
Anna Ziegler’s Impressive Double-Edged Sword
Anna Ziegler earned the privilege of two prominent off-Broadway theatre companies simultaneously staging a duo of her new plays this winter.
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PEOPLE, PLACES & THINGS: A Transatlantic Journey (To Another Website)
People, Places & Things will go down as one of this theatre season’s very best shows.
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AT THE ILLUSIONIST’S TABLE (The McKittrick Hotel): Dinner Magic
Magic’s having a theatrical moment.
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LONELY PLANET (Keen Company)
The Keen Company’s revival of Steven Dietz’s Lonely Planet plays like a thematic mashup between Edward Albee’s Who’s Afraid of Virginia Woolf? and Samuel Beckett’s Waiting for Godot. They explore the complexly nuanced relationships between storytelling, companionship, and dealing with life’s hard truths.
OFFICE HOUR (Public Theater)
Since I attended the final performance of the Public Theater’s production of Julia Cho’s Office Hour, I figured it wouldn’t behoove me to write about it, even though I think it’s one of the most vital plays of the season.
TORCH SONG (Second Stage)
I’ve long differentiated actors from performers.
CONQUEST OF THE UNIVERSE OR WHEN QUEENS COLLIDE (La Mama)
WHAAAAAAAAT THEEEEEEE FUUUUUUUUUCK?!?!?!?!
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MARCEL + THE ART OF LAUGHTER (Theatre for a New Audience)
Given the relatively newfound popularity of 90-minute plays, double-bills of one-acts have largely gone out of style. What hasn’t faded over hundreds of years of theatre history are works that mix farce and slapstick, with a plethora of self-aware winking thrown in.
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MEASURE FOR MEASURE (Elevator Repair Service)
The Elevator Repair Service’s take on Shakespeare’s Measure for Measure theatrically literalizes textual fidelity.
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Write All Nite 