Kallan Dana’s new play Racecar Racecar Racecar is an original tale of a daughter-dad adventure in which character is tested, quite literally, if preposterously, during a cross-country road trip. Directed by Sarah Blush, and making its world premiere at A.R.T/New York Theatres, this surreal one-act play packs an emotional punch.
It’s impossible to discuss Pen Pals, Michael Griffo’s new two-hander at the Theatre at St. Clement’s, without first bringing up A.R. Gurney’s Love Letters. A Pulitzer Prize finalist, Love Letters consisted of nothing more than two actors reading letters to each other, recounting an epistolary romance spanning almost a half-century. It was so popular because, first of all, it was easy to produce: small set, small cast, and celebrity actors who could jet into town, get onstage, and read the text without having to memorize anything.
What does it take to turn an extraordinary Shakespearean tragedy into an extraordinary production? The first step is vision. King Lear, with Kenneth Branagh in the title role, reflects the artistic vision and collaborative muscle of a directing triumvirate—Branagh, Lucy Skillbeck, and Rob Ashford. They have reduced the Bard’s three-hour-plus saga to two hours with no intermission and cast current and former Royal Academy of Dramatic Art students to bring new energy to a complex story. This series of theatrical risks yields cohesive and riveting theater.
Michelle Kholos Brooks writes powerful dramas about salient issues. Together with director Sarah Norris, she has created a viscerally, emotionally gripping tableau of remembrance. With maximum impact, Kholos Brooks’s Room 1214 hits gun violence out of the ballpark.
In The Blood Quilt by Katori Hall, four half-sisters gather a few weeks after their mother’s funeral for an annual rite of stitching a quilt. As they congregate in their childhood home, the quartet of archetypal characters rehash old conflicts with their different personalities and views of tradition.
A superb company of actors, the Arlekin Players Theatre, is in residence at Classic Stage Company (CSC) with The Merchant of Venice. The energetic production on CSC’s Lynn F. Angelson stage, however, may come as a jolt to playgoers fond of Shakespeare’s play.
We Are Your Robots, composed and performed by Ethan Lipton, is the perfect answer to the question “What do humans want from their machines?” Directed by Leigh Silverman, this musical about artificial intelligence arrives at the Polonsky Shakespeare Center like a breath of fresh air.
Pony Cam’s Burnout Paradise is a madcap smorgasbord of actions that are tied together by a final aim: complete a number of tasks in a certain amount of time, all while walking on a treadmill. Part performance art, part physical theater, the show opens with four performers—Claire Bird, William Strom, Dominic Weintraub and Hugo Williams—on treadmills under a large screen displaying the words “Warm Up.” A soft, muttering soundscape (created by the ensemble) floats through the air, offering thoughts on greatness—“If greatness doesn’t come knocking on your door, you should go knocking on its door.”
Sashay away? Nah, in Little House on the Ferry the drag queen tap-dances—and it’s just one of the old-fashioned musical-theater pleasures of this exuberant production, described in promotional material as an “immersive nightclub musical.”
Life and Trust, a new theatrical event from Emursive, which produced the Punchdrunk hit Sleep No More, takes as its inspiration the Faust legend and mixes it with the 1929 stock market crash, the structure of A Christmas Carol, and glimmers of Citizen Kane. As with Sleep No More, attendees wear masks and performers do not, and silence is the rule. The audience, too, plays a part: The evening begins in a cavernous lobby with red-marble columns at “Conwell Tower” (formerly City Bank–Farmers Trust), half a block from Delmonico’s in lower Manhattan. A placard announces the date, Oct. 23, 1929, and the event: Life and Trust Bank’s Prospective Investors’ Fête. The audience is the “investors.”
Perhaps the first thing to clarify about Odd Man Out is that Martín Bondone’s play is unrelated to the 1947 movie by British director Carol Reed that starred James Mason as a robber on the run in Belfast. Although Reed’s work is a famous film noir, Bondone’s Odd Man Out is more than noir—it’s performed in total darkness.
Ryan Spahn’s Inspired by True Events is an amalgamation of docudrama, backstage comedy, psychological thriller, and immersive theater. The boundaries between the genres often blur, and the effect is often comical, sometimes chilling, and occasionally disorienting. The production’s fun-house quality is encapsulated in the paradoxical and droll preshow announcement: “The following story you’re about to witness is inspired by true events. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.”
Dark Noon, the South African-devised history of the American West now visiting Brooklyn from the Edinburgh Festival, foregrounds violence by white Europeans against blacks, Asians, and native Americans to debunk the mythology of America established by heroes in film westerns. The title deliberately references High Noon (1952), but the piece belongs to the “in yer face” school of theater, established in Britain in the 1990s. Although “slapstick humor” is billed as one element of the production, the send-up is a heavy-handed attack on the depredations of Manifest Destiny.
Ben Target’s solo show Lorenzo is an end-of-life comedy that is both joyful and surprising. Written and performed by Target (pronounced Tar-ZHAY), and directed by Adam Brace and Lee Griffiths, it is an autobiographical 65 minutes that focuses on a time when Target gave up his work as a comedian to become a live-in caretaker for an aging family friend, “Uncle” Lorenzo Wong.
In Ireland’s County Cork there are apparently many ghosts. Nasty ghosts. KING (an acronym for Keep Ignoring Nasty Ghosts) posits that ghosts of the past have a central role in the way we live our present—and future. Fishamble, a Dublin-based theater showcase for new Irish plays, has produced this work, which features a solo performance by Pat Kinevane, a veteran associate of the company. Director Jim Cullerton has shaped it into a powerful but enigmatic and often disturbing reflection on obsession, mental illness, England’s domination of Ireland and its empire, and one man’s attempt to grapple with a litany of wrongs, both past and present.
Marc Summers may not be a name that rings a bell to most people, although he has hosted numerous cable-television shows, most notably Double Dare (1986–88) on the Nickelodeon network. The participants in that game show for kids invariably ended up covered in goop, schmutz, and slime. The title The Life and Slimes of Marc Summers pays tribute to that calling card, but it also reveals the celebrity’s battle with obsessive-compulsive disorder (OCD), a malady that he has had since childhood.
On Set with Theda Bara is a single-actor comedy-drama by Joey Merlo that revolves around the suspicious disappearance of a genderqueer teenager. In this pastiche of film noir, Merlo piles mystery upon outlandish mystery, and David Greenspan leads the spectators (limited to 50 a performance) through a 65-minute, mazelike tale that’s at once intriguing and mystifying.
On July 10, 1941, as many as 1,600 Jewish men, women, and children were rounded up and packed into a barn in Jedwabne, a small town in northwest Poland. The locked barn was set ablaze, and everyone inside perished. The pogrom is notable (and controversial) because, unlike similar atrocities in Nazi-occupied cities and villages, the massacre was not carried out solely by officers of the Third Reich or by Soviet nationals. The perpetrators were friends, associates, and neighbors of the Jews with whom they had lived peaceably and side-by-side before the occupation. Although not explicitly about Jedwabne, Tadeusz Słobodzianek’s Our Class follows the basic outlines of the historical events, and under Igor Golyak’s resourceful and potent direction, the play shows that our most barbarous enemies may indeed dwell among us.
Mind Mangler: A Night of Tragic Illusion is a new parody from the creators of The Play That Goes Wrong—this time aimed at magicians. The production is about the relationship between a magician and his stooge, played by Henry Lewis and Jonathan Sayer respectively, who cowrote this show as well as Play That Goes Wrong with Henry Shields. While Mind Mangler easily segues back and forth from a spoof of a magic show to actual sleight of hand to a dramatic story involving the two leads, not all its parts are equally successful.
Hershey Felder, the pianist and actor who has embodied musicians such as George Gershwin and Ludwig van Beethoven in previous shows, is Fryderyk Chopin in his latest stage biography, Monsieur Chopin, directed by Joel Zwick. In the script he has written, Felder climbs into the skin of Chopin, and reveals both the highs and lows of the 19th-century Polish pianist-composer’s life and career.
Tom Stoppard, whose 1993 comedy Arcadia is being revived by Bedlam, turned 86 last summer and, to the extent discernible from afar, he’s going strong. A year ago Stoppard was in New York for the premiere of Leopoldstadt, an emotionally charged, multigenerational epic. Set in Vienna during the Holocaust, that late-career masterwork proved surprising even for a playwright who’s known to avoid doing anything twice. When it was new, Arcadia was also a surprise. It represents the dramatist in midcareer, his imagination careening among a wild assortment of topics: English landscape gardening, quantum physics, the theory of deterministic chaos, and the peril for researchers of what’s inscrutable in the historical record (as, for example, gaps in the biography of George Gordon, Lord Byron, an important offstage character).
Geoff Sobelle’s Food at BAM Fisher is performance art of the most engaging kind. It provokes rumination about man’s relationship to nature, to the use of the environment, and to the distance between tilling the earth with dirty hands and the meal that arrives on a plate at home or in a restaurant. If that implies an overly serious purpose, it is brightened by Sobelle’s interactivity with his audience, his deft sleight of hand, and slapstick that veers into carnival sideshow.
“Power corrupts” is a global, historical truism, possibly even more so when conquerors ensnare the vanquished to do their dirty work. Such was the case for Jews in the mid–20th century in Europe’s Nazi-controlled ghettoes. The Nazis often appointed Jewish leaders to decide on the people to be deported—often a death sentence. The Jewish-run panels were called Judenrats. In Leslie Epstein’s King of the Jews, adapted from his novel of the same name, an ethnic German Nazi enforcer in Łódź, Poland, authorizes a group of Jews to select fellow Jews for deportation.
Things are not as they seem,” intones Patrick Olson, the creator and driving force behind Emergence, an uncanny conceptual performance that merges art, science, music, and monologue and may well be the most original Off-Broadway show this season. Accompanied by an ensemble of four singers, three dancers, and a rock band, Olson invites theatergoers on a transformative journey that tears off the veil from familiar things and explores the deepest aspects of the human experience.
Bioadapted, a new theater piece created and directed by Tjaša Ferme, and written by James Yu and Alexis Roblan, is a hybrid play drawn from sources as disparate as a 2020 article in Britain’s Guardian newspaper that was written by ChatGPT; transcripts of panels of scientists discussing the subject; and scientists interacting with artificial intelligence (AI). Turning transcripts into drama has been around a long while—from Emily Mann’s Execution of Justice and Moisés Kaufman’s Gross Indecency: The Three Trials of Oscar Wilde to the recent Is This a Room, which took dialogue verbatim from FBI interviews with Reality Winner.
