Artemisia Gentileschi, the real-life subject of Kate Hamill’s uneven new drama The Light and the Dark, survived rape and a harrowing experience at her assailant’s trial to become the most accomplished female painter of the Renaissance. While Hamill’s approach to telling Gentileschi’s life story is ill-conceived in places, the playwright understands its power as a triumph over patriarchy.
In 2021, Sam Kissajukian created 300 large-scale paintings over only five months. This astonishing creative output is even more mind-boggling because Kissajukian wasn’t a trained or practiced artist—he was a stand-up comedian who had become disillusioned with the profession and moved into isolation in a windowless concrete warehouse. And, it turned out, he was experiencing a prolonged manic episode as a result of undiagnosed bipolar disorder.
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.”
Theatergoers who have followed the career of the late Tina Howe now have an opportunity to see her final work, Where Women Go, a triptych of one-acts that invites one on an absurdist journey through New York City. Directed by Aimée Hayes, this intimate work has some transcendent moments, but its poetic flights are too often thwarted by its gimmick-driven scenarios.
Thirty years ago Coastal Disturbances captured the fancy of Reagan-era theatergoers, catapulting playwright Tina Howe from a niche in the New York avant-garde to the commercial heights of Broadway. Set on a private stretch of sand along the North Shore of Massachusetts, that whimsical comedy featured Annette Bening and Tim Daly, who made the angst and self-absorption of Howe’s baby boomers endearing, poignant and, above all, hilarious.
