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.
Three productions of Henry VI, William Shakespeare’s seldom staged trilogy, have cropped up Off-Off Broadway since January. The latest, by the ambitious National Asian American Theatre Company (NAATCO), brings epic pageantry and violence to the intimate Mezzanine space at the A.R.T./New York complex on West 53rd Street.
MJ Kaufman’s latest play, Sagittarius Ponderosa, tells the story of a young man returning home to help take care of his ailing father. The play, staged by the National Asian American Theatre Company (NAATCO), begins at a Thanksgiving dinner with the young man, his father and mother, and his grandmother expressing what each is grateful for. This opening scene is telling. On one hand, it’s a precursor to many familiar stories: a young person returning home attempting to make his way in the world, and his struggle with sexuality, love, and attachment; a child taking care of an elderly parent; a wife coming to terms with the eventual death of her husband; a grandmother’s struggle with hearing issues, and, more important, her desire to see her grandchild married. Even though Kaufman sets Sagittarius Ponderosa squarely within an Asian-American family, each of these stories is universal.
