Jane Shaw

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King of the Jews

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King of the Jews

“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.

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Hedda Gabler

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Hedda Gabler

Just in time for Halloween, the Off-Off-Broadway troupe Bedlam is spicing up its presentation of Hedda Gabler with a Walpurgisnacht dance. That unexpected choreographic interpolation, with flashing lights, thump-y music, and Hellfire Club costumes, might strike the fancy of Sigmund Freud but would certainly surprise the play’s author, Henrik Ibsen—and perhaps also Jon Robin Baitz, whose adaptation, based on Anne-Charlotte Hanes Harvey’s translation, the production utilizes.

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Chekhov/Tolstoy: Love Stories

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Chekhov/Tolstoy: Love Stories

The Mint Theater Company has once again returned to excavating the long-forgotten dramatic works of Miles Malleson, a 20th-century British actor, playwright, and screenwriter. Chekhov/Tolstoy: Love Stories presents a pair of one-act dramas based on short stories by the Russian literary giants and adapted by Malleson. Audience members with passing familiarity of works by Anton Chekhov and Leo Tolstoy will surely not expect to see a rom-com double bill, and yet the plays reflect the authors’ depths of compassion and devotion to social and spiritual uplift.

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Terra Firma

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Terra Firma

Despite the title, Barbara Hammond’s futuristic drama Terra Firma is ironically on shaky ground. Having its world premiere at Baruch Performing Arts College, the play is set on an abandoned platform of a country that experience a “Big War” some 50 years earlier. There, three characters have abandoned the mainland and commandeered the site. Sporadically there are explosions on shore—the conflict is apparently not over, or is it?

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The Price of Thomas Scott

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The Price of Thomas Scott

Over the next few months, the estimable Mint Theater, committed to rediscovering lost theatrical treasures, is producing three works by English playwright Elizabeth Baker. The first is The Price of Thomas Scott, a 1913 comedy-drama that features a top-notch ensemble of New York actors in a handsomely designed staging directed by Jonathan Bank.

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Days to Come

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Days to Come

Lillian Hellman left the theater a couple of decades before she left this world. In her remaining years, she published memoirs depicting herself as a conscience-driven adversary of misogynists, Nazis, and the House Un-American Activities Committee. When public intellectuals such as Mary McCarthy, Norman Podhoretz, and Diana Trilling took issue with what she wrote, Hellman let rip with insults and invective. By the time she died in 1984, Hellman’s name was associated more with public feuds than with the literate Broadway plays that had made her famous.

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