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.”
Jenny Lyn Bader’s Mrs. Stern Wanders the Prussian State Library is an intellectually stimulating and profoundly moving historical drama currently running at 59E59 Theaters. Directed by Ari Laura Kreith, and inspired by real events, the play is a compelling portrait of a young Gestapo officer who arrests a graduate student suspected of illegal research.
Kafkaesque!, a clever new musical comedy with book, music, and lyrics by James Harvey, draws together the life of Czech novelist Franz Kafka and his major (and one minor) works. The show opens with Kafka (Harvey, a talented composer and pianist) at the piano as he defines who he is: a writer whose work has had so much impact that he’s become an adjective. The opening song about “the evils of bureaucracy, modernity’s alienation, man’s talent for hypocrisy, neuroses and fixation!” showcases the main themes of Kafka’s work that are woven together in the musical.
The price of fame is at the heart of Kenneth Lonergan’s Hold On to Me Darling, a 2016 play that premiered at the Atlantic Theater Company, directed by Neil Pepe. In Pepe’s superbly cast revival, Adam Driver now plays the main character, Strings McCrane, a renowned but feckless country and western singer who enjoys casual romantic relationships but wants more.
Song and story teach us that what a child experiences on a trip to grandmother’s house can go one of two ways. There might be pumpkin pie after a voyage over the river and through the woods. Or, as with the central character in Robyne Parrish’s grim and haunting Tin Church, a nightmare awaits, big and bad as any wolf and capable of swallowing a body whole.
In mid-March, as the novel human coronavirus steamrolled New York City, Rattlestick Playwrights Theater had to pull the plug on Ren Dara Santiago’s The Siblings Play. The production, directed by Jenna Worsham, was nearing the end of previews, with four days to go before opening night.
