Magic’s having a theatrical moment.
Continue reading “AT THE ILLUSIONIST’S TABLE (The McKittrick Hotel): Dinner Magic”
Tag: New York City Serenades
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.
JESUS HOPPED THE ‘A’ TRAIN (Signature Theatre)
Every year, I track all the major off-Broadway theatre company’s seasons to determine whose deserves to be crowned the best of, currently, 2017-2018. It’s still too early to declare a winner, but based on its three revivals this fall, the Signature Theatre looks like the odds-on favorites.
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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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OH MY SWEET LAND (The Play Company)
In The Play Company’s site-specific production of Amir Nizar Zuabi’s’ Oh My Sweet Land, the thematically-resonant specifics of the site(s) contribute more to the play’s intended effect than the actual text.
TOO HEAVY FOR YOUR POCKET (Roundabout Theatre Company)
Roundabout Underground’s production of Jiréh Breon Holder’s Too Heavy for Your Pocket is perfectly fine, but its across-the-board traditionalism runs contrary to the type of work ideally presented at the Roundabout Theatre Company’s black box space, especially in relation to what normally occupies this venerable institution’s other venues.
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Write All Nite 