The Oxford English Dictionary lists eight different meanings of the word babe, and that’s not even counting the famous talking pig. Playwright Jessica Goldberg is specifically interested in two of them. In Babe, her 2022 short and sour drama, currently receiving a well-appointed staging by the New Group, Goldberg offers an example of how the term can simultaneously signal affection and condescension. Pitting a powerful, wrong-headed man against two smart women of different generations, the trio admire one another for their singular skills while ruing the destructive power plays that undo their workplace relationship.
Pony Cam’s Burnout Paradise is a madcap smorgasbord of actions that are tied together by a final aim: complete a number of tasks in a certain amount of time, all while walking on a treadmill. Part performance art, part physical theater, the show opens with four performers—Claire Bird, William Strom, Dominic Weintraub and Hugo Williams—on treadmills under a large screen displaying the words “Warm Up.” A soft, muttering soundscape (created by the ensemble) floats through the air, offering thoughts on greatness—“If greatness doesn’t come knocking on your door, you should go knocking on its door.”
Mama I’m a Big Girl Now!, the new musical entertainment at New World Stages, seems so eager to race to the exclamation point that it’s even missing a comma. The show wants to spread exuberance, excitement, and joy. It mostly succeeds.
It may be an overgeneralization, but let’s put it out there: In stage comedies, the more the cast laughs at its own purportedly hilarious exploits, the less the audience does. The onstage hollers and whoops are frequent and loud in The Z Team, Jeff and Jacob Foy’s workplace yuk-fest at Theatre Row, and while some of the audience seemed to enjoy it, those seated in E1 and E2 barely cracked a smile.
Loneliness and pandemic: two words that soared in usage in 2020 and 2021, when the COVID lockdowns kept people apart from their friends, family and regular activities. That pandemic is not the one playwright Olivia Haller references in the title Loneliness Was a Pandemic. Her occasionally thoughtful but not fully engaging drama (in which the word pandemic is never said) is concerned with another topic that’s been top of mind over the past few years: artificial intelligence.
Loneliness and pandemic: two words that soared in usage in 2020 and 2021, when the COVID lockdowns kept people apart from their friends, family and regular activities. That pandemic is not the one playwright Olivia Haller references in the title Loneliness Was a Pandemic. Her occasionally thoughtful but not fully engaging drama (in which the word pandemic is never said) is concerned with another topic that’s been top of mind over the past few years: artificial intelligence.
Like René Magritte’s painting of a pipe with the sentence “Ceci n’est pas une pipe” (“This is not a pipe”) beneath it, Orietta Crispino writes “This is not about the past” on the wall behind her early in her solo show Let Me Cook for You. But over the next two-plus hours she talks a lot about her mother—deceased since 1994—as well as about the relatives she lived with growing up, her attempt at age 17 to meet the father she’d only recently learned was still alive, and the many times she has moved (at least 35 total in four different places in Italy and the U.S.). In other words: about the past.
It’s getting a little late in the day for a contemporary coming-out comedy. Isn’t that battle pretty much over, and aren’t plays like Gemini and Torch Song Trilogy period pieces by now? That said, David Adam Gill gets a fair amount of comic mileage out of Experimenting with Katz, his “new comedic play” about, shades of Albert Innaurato or Harvey Fierstein, Michael Katz (Paul Pakler), a youngish gay man with self-esteem issues, romantic issues, and severe mother issues. Gill hasn’t quite merged his characters and themes into a cohesive whole, and he needs to acquaint himself with the Delete key—Katz, small as it is, runs more than 2½ hours. But he knows how to make us laugh, and, a few contrivances notwithstanding, care a little, too.
