Since The Lightning Thief: The Percy Jackson Musical – based on a popular young adult book series – is now going on tour, my belated thoughts on its New York City engagement at the Lucille Lortel Theatre earlier this year have become relevant once more:
Continue reading “THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL”
=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.
Michael McKeever’s Daniel’s Husband proves yet again that Primary Stages continues to be a bafflingly ignored hotbed of quality new plays.
Continue reading “DANIEL’S HUSBAND, and the Sniffle Show Championship of 2016-2017”
Rarely does such a sitcom-meets-Will Ferrel/Adam-McKay premise lead to glorious pedanticism, but playwright Jen Silverman revels in the unexpected.
Continue reading “THE ROOMMATE (Williamstown Theatre Festival)”
For a musical about a future without death, Deathless feels dissonantly lifeless.
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.
Continue reading “946: THE AMAZING STORY OF ADOLPHUS TIPS (St. Ann’s Warehouse)”
Does anyone else still want to hear the “Director’s Cut” of In Transit that axes the score-tanking beatboxing?
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.
A new week, a new screen-to-stage idea.
After seeing Asghar Farhadi’s Academy Award-winning The Salesman earlier this year, I posted the following tweetstorm on Twitter:
