There’s sure been a passel of Medeas lately. An operatic one by Fusion Theatre back in March. Red Bull Theater’s Medea: Re-Versed, the recent hip-hoppy version. And now Medea: A Musical Comedy, written, directed by and starring one John Fisher, currently infesting the Actors Temple Theatre. The very title is a joke, and be assured, Fisher will keep piling the yuks on top of one another. If only the vast majority of them weren’t so juvenile.
It can’t have been easy to have polymath and Founding Father Benjamin Franklin for a father—talk about expectations. In Lloyd Suh’s Franklinland, a comic rendering of the relationship between Franklin and his son William, Franklin is portrayed by the superb Thomas Jay Ryan, who captures perfectly Suh’s conception of the character as conceited, brilliant, and callous. Franklin himself knows this, and uses his own outsized reputation as a cudgel against his somewhat bumbling offspring.
The title of Erika Sheffer’s new play refers to the most famous Vladimir in the world at the moment—Russia’s president. Unlike Peter Morgan’s recent Patriots, however, Valdimir Putin doesn’t appear in Sheffer’s ambitious drama, although he casts a long shadow over the characters. Directed by Daniel Sullivan, the play, with its foreign setting and journalistic protagonists, shares a kinship with David Hare and Howard Brenton’s Pravda (1985)—it’s a worthy cousin to that work.
Neither the script nor the program for People of the Book states when the play takes place, so presumably it is the present. That makes Yussef El Guindi's drama not only morally and logically confused but dated as well. It treats the fight against the Iraqi insurgency, a U.S. military action that ceased about a decade ago, as a current event.
David Finnigan’s performance piece on the climate crisis, Deep History, now playing at the Public Theater after stops elsewhere, including the Edinburgh Fringe, will inevitably be compared to a TED talk: Finnigan is scientifically fluent and uses images from his laptop (video design by Hayley Egan) to craft a deeply informed narrative of climate and human history, with some autobiography and whimsy mixed in. TED talks can be engaging, of course, and Finnigan is certainly that; but this description also sells Finnigan short. There is theatricality at work in the 65-minute piece, directed by Annette Mees, particularly a twist in the storytelling that revolves around the gap between 2019 (when the piece was written) and the time when it is performed.
It can’t have been easy to have polymath and Founding Father Benjamin Franklin for a father—talk about expectations. In Lloyd Suh’s Franklinland, a comic rendering of the relationship between Franklin and his son William, Franklin is portrayed by the superb Thomas Jay Ryan, who captures perfectly Suh’s conception of the character as conceited, brilliant, and callous. Franklin himself knows this, and uses his own outsized reputation as a cudgel against his somewhat bumbling offspring.
