Tennessee Williams’s A Streetcar Named Desire has one of drama’s greatest female roles—Blanche DuBois, perhaps only rivaled by Shaw’s St. Joan and Ibsen’s Hedda Gabler. It’s a theatrical mountain that any serious actress would like to scale, and Patsy Ferran deserves credit for doing so, even if the Almeida Theatre production visiting BAM from London comes up short. Directed by Rebecca Frecknall, this Streetcar also features the better-known Paul Mescal (of Gladiator II renown) as Stanley Kowalski.
In the 1990s, Rajiv Joseph spent three years in the Peace Corps in Senegal. Dakar 2000, currently at Manhattan Theatre Club (MTC), draws on the playwright’s memories of that experience and his understanding of East Africa at the advent of the new millennium.
Lisa Sanaye Dring’s Sumo, co-produced by Ma-Yi Theater Company, comes to the Public Theater after an earlier run at La Jolla Playhouse, and specifically addresses an audience whom it assumes knows little about the ancient Japanese art and sport of sumo. And so Drang’s play becomes an opportunity to teach about this sacred ritual, and actually show it to us, while also crafting a story of a rebellious young underdog’s rise to the top against a hostile mentor.
Jane Goodall is a renowned zoologist and primatologist who, at almost 91, has the distinction of being a household name. The new play Have You Met Jane Goodall and Her Mother? is a breezy telling of her origin story and path to success. Written by Michael Walek, it presents the biographical and historical facts of six months that Goodall spent in Tanganyika while conducting her observations of chimpanzees, but with the addition of three possibly imaginary fellows she meets there. Her facts, and their fiction, make for a winning mash-up.
In 1881, Ibsen’s Ghosts was considered shocking for its critique of conventional morality and its unabashed treatment of venereal disease and religious hypocrisy, among other topics. While the specifics of the social issues that the characters grapple with are not pressing today—syphilis is a curable disease, a woman trying to leave an unhappy marriage is not unthinkable, nor is the idea that a person of high social rank might be a degenerate—moral hypocrisy, patriarchy, class resentment, and generational trauma are always ripe for the stage. The gripping, finely acted production of Ghosts now playing at Lincoln Center, directed by Jack O’Brien and adapted by Mark O’Rowe, threads this needle: it retains the historical setting (though with a framing device) and yet makes the moral debates feel like more than artifacts from another era.
Lisa Sanaye Dring’s Sumo, co-produced by Ma-Yi Theater Company, comes to the Public Theater after an earlier run at La Jolla Playhouse, and specifically addresses an audience whom it assumes knows little about the ancient Japanese art and sport of sumo. And so Drang’s play becomes an opportunity to teach about this sacred ritual, and actually show it to us, while also crafting a story of a rebellious young underdog’s rise to the top against a hostile mentor.
