=As a newcomer to the #FreelanceLyfe, I’ve been revisiting some movies and shows from earlier this year trying to detect trends that would make for juicy pitches in the eyes of omnipotent editors.
Tag: A Crazy Mirror Showing Us Both in 5-D
DANIEL’S HUSBAND, and the Sniffle Show Championship of 2016-2017
Michael McKeever’s Daniel’s Husband proves yet again that Primary Stages continues to be a bafflingly ignored hotbed of quality new plays.
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THE ROOMMATE (Williamstown Theatre Festival)
Rarely does such a sitcom-meets-Will Ferrel/Adam-McKay premise lead to glorious pedanticism, but playwright Jen Silverman revels in the unexpected.
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DEATHLESS (Goodspeed)
For a musical about a future without death, Deathless feels dissonantly lifeless.
946: THE AMAZING STORY OF ADOLPHUS TIPS (St. Ann’s Warehouse)
Kneehigh’s 946: The Amazing Story of Adolphus Tips at St. Ann’s Warehouse is more sophisticatedly resonant than a large majority of theatrical kiddie fare, mostly because it sensitively touches upon mature aspects of war that other youth-focused shows mistakenly deem objectively inappropriate for children.
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IN TRANSIT (Broadway)
Does anyone else still want to hear the “Director’s Cut” of In Transit that axes the score-tanking beatboxing?
SAMARA (Soho Rep)
Most of Soho Rep’s Samara left me cold, despite my admiration for the respective work of writers Richard Maxwell, Sarah Benson, and Steve Earl.
Stage It Like You Dream It
A new week, a new screen-to-stage idea.
An Ode to Asghar Farhadi
After seeing Asghar Farhadi’s Academy Award-winning The Salesman earlier this year, I posted the following tweetstorm on Twitter:
Why – in 300 Words – THE AUTOPSY OF JANE DOE, LIGHTS OUT, and Many Other Horror Flicks Should’ve Just…Come to Broadway?! (or Off, or Off-Off, or Off-Off-Off, etc. ad infinitum)
Add last year’s The Autopsy of Jane Doe and Lights Out to the long list of excessively derivative, and thus increasingly tired horror movies that would be better suited for the stage.
Write All Nite 