The Hunting Gun, an avant-garde piece of theater by Serge Lamothe, is a remarkably mesmerizing work, but it also presents challenges to a viewer: only one of its two performers speaks, and then it’s entirely in Japanese (there are surtitles in English). Adapted from a novel of the same name by Yasushi Inoue, the work begins with a prologue. An author, heard over a loudspeaker, recites a poem called Hunting Gun—written about a man with “a double-barreled Churchill.” The author subsequently received a letter from Josuke Misugi, who claims to be the man who inspired the poem. Out of the blue, he tells the author, he is sending him three letters in the hopes that he (or perhaps just someone, anyone) will understand his life.
This G*d Damn House
In spite of its off-putting title, Matthew McLachlan’s This G*d Damn House delivers two hours of satisfying theater that touches on loneliness, mental illness, homelessness, and more. Directed by Ella Jane New, this show is for gutsy theatergoers who like their drama to smack of real-life situations and push the theatrical envelope.
The Coast Starlight
Keith Bunin’s The Coast Starlight is one of those “ship of fools” dramas that throw together unacquainted travelers on a common carrier. The title comes from a real passenger-train service running daily from Los Angeles to Seattle. Amtrak’s website promises potential Coast Starlight customers a “grand West Coast train adventure … pass[ing] through Santa Barbara, the San Francisco Bay Area, Sacramento, and Portland.” For Bunin’s characters, however, the reality is not so much an adventure as an anxious long-haul.
Pericles
Shakespeare’s romance Pericles has washed up at the Doxsee, the Brooklyn home of Target Margin Theater, with all the “outrageous fortune” in the 1607–08 play intact. Clocking in at 105 minutes, this new staging by David Herskovits, though wildly uneven, delivers some limpidly beautiful moments that redeem the production.
Love
Alexander Zeldin’s Love is a remarkably naturalistic and empathetic work about individuals and families experiencing homelessness. The play takes place in an emergency housing facility in London and was created in collaboration with those who have firsthand experience of such a setting. Zeldin writes in a program note that “a crucial step in the creation of Love was meeting these families, visiting their homes over two years, involving them in workshops and rehearsals, and improvising with them on the subjects and scenes in the play.”
Crumbs from the Table of Joy
Lynn Nottage. Author of a Pulitzer-winning masterpiece (Sweat), another Pulitzer winner (Ruined), a wild phantasmagorical comedy with revealing things to say about the underclass (Clyde’s), a heartrending miniature she also skillfully adapted into an opera (Intimate Apparel), and several others. Who wouldn’t want to see a little-known early work of hers? Not for nothing is Keen Company promoting Crumbs from the Table of Joy as “the Lynn Nottage play you don’t know (yet).”
Cat on a Hot Tin Roof
Last summer the Ruth Stage production of Tennessee Williams’s 1955 Pulitzer Prize–winning Cat on a Hot Tin Roof opened at Off-Broadway’s Theatre at St. Clement’s. The critical responses were uniformly mixed-to-negative, and OffOffOnline’s Charles Wright described it as a “lumbering version” of the play under Joe Rosario’s direction. Now in a “re-engagement,” as the publicity materials describe the current iteration, the production has been substantially recast, and there are a few directorial modifications. While this Cat 2.0 still lumbers, there is a noticeable improvement along with glimmers of fresh insight into the mendacious, caustic, and fiercely combative characters who populate Williams’s Mississippi Delta estate.
The Trees
Agnes Borinsky’s The Trees is a quirky and ambitious new play that may please some environmentalists and Thoreau-minded folk, but many theatergoers may find it hard to warm up to this work, populated with a dozen characters, many of whom flit in and out of the play in will-o’-the-wisp fashion. Directed by Tina Satter, The Trees investigates the American dream and questions whether stability is possible in a capitalistic world.
Conversations After Sex
The racy, come-hither title of Mark O’Halloran’s 70-minute work disguises a fascinating drama en déshabillé that explores the loneliness that underlies anonymous sexual encounters and a desire by participants to connect more fully than only with sex. Though the conversations follow intercourse, they reveal more about the characters’ lives up to that point than what happens afterward. Staged with simplicity and power by Tom Creed, O’Halloran’s play is thought-provoking, sad, and thoroughly engaging.
The Best We Could
An hour into The Best We Could, you realize you’re not watching the play you thought you were. Emily Feldman’s new drama seemed like it was a semi-experimental staging of a cross-country drive during which a grown woman and her dad visit national parks and revisit moments in their lives. Then, all of a sudden, it’s about something very specific beyond the sightseeing, bonding and memories. And the play belongs to a particular category of stories—and that category is not road trips or family relationships or Our Town riffs.
Black Odyssey
In Black Odyssey playwright Marcus Gardley has undertaken an ambitious conflation of Homer’s epic poem with the history of Black people in America. In this lively, overstuffed and often bewildering fantasia, Ulysses Lincoln (Sean Boyce Johnson) struggles to find his way back to his family in Harlem after a discharge from the war in Afghanistan. He ends up homeless and then in a mental hospital, while his journey is overseen from Olympus by his allies Deus (i.e., Zeus, played by James T. Alfred) and Athena (Harriet D. Foy), and from the ocean by his enemy Paw Sidin (i.e., Poseidon), who is determined to kill him.
Othello
The New Place Players’ production of Othello at Casa Clara, a former foundry replete with balconies and staircases, is an unusual, site-specific staging that pulls the audience into the world of Shakespeare’s tragedy. Makenna Masenheimer directs the 1604 tragedy without a fourth wall, and a limited audience of 50 assures an intimate experience.
The Seagull/Woodstock, NY
Anton Chekhov’s 1895 chestnut, The Seagull, has always been a crowd pleaser. The tale of unrequited love and petty jealousy among egomaniacal adults and self-doubting youths, sown through with treatises on the craft of writing and the purpose of theater, then capped with a dead bird and a tragic ending, has spawned eight Broadway productions over the past century.
Letters from Max, a ritual
Sarah Ruhl’s Letters from Max, a ritual, is an adaptation of her 2018 epistolary book Letters from Max: A Poet, a Teacher, a Friendship, which included letters between Ruhl and Max Ritvo, her playwriting student and, shortly thereafter, friend. Ritvo died at age 25, of a recurrence of Ewing’s sarcoma, a pediatric cancer first diagnosed when he was 16. He graduated from college while undergoing chemotherapy and surgeries, producing poetry and plays and music along the way, becoming a teacher to Ruhl as much as she was to him.
Fall River Fishing
Lizzie Borden, a favorite true-crime subject since long before the genre had that name, is the inspiration behind Fall River Fishing, a new play directed by Eric Tucker and written by two of its cast members, Deb Knox and Zuzanna Szadkowski. Their double duty as playwrights and performers doesn’t fully convey just how much Knox and Szadkowski, along with their three castmates (Susannah Millonzi, Jamie Smithson and Tony Torn), put into the show. It succeeds because of these five deeply invested performances, each actor playing two roles that require them to deliver absurdist, anachronistic dialogue and engage in physical gags like eating—and feeding each other—spaghetti with their hands, sitting on the toilet for an extended period of time and getting splattered with blood.
Becomes a Woman
Becomes a Woman, Betty Smith’s sort-of warmup to A Tree Grows in Brooklyn now premiering at the Mint Theater Company, begins wonderfully. In the sheet music department of a dime store in Brooklyn, circa 1927, 19-year-old Francie Nolan (Emma Pfitzer Price)—she shares the name of the heroine of Smith’s beloved novel, though she’s quite different from the Francie in the book—is working as a song plugger, demonstrating the little-known Jerome Kern–Anne Caldwell “Left All Alone Again Blues,” to the accompaniment of piano-playing pal Florry (Pearl Rhein), while friend/co-worker/roommate Tessie (Gina Daniels) looks on. A lively setting, a swell Kern tune, a trio of sassy girlfriends gabbing about men. A first of three acts that promises a friendly nostalgia trip, in the vein of Smith’s much more famous book. Where are we headed?
She’s Got Harlem on Her Mind
In the Roaring ’20s and Depression ’30s, women playwrights contributed substantively to the theater, but Black women playwrights’ work went largely unnoticed in the broader literary world. To counter this, Black magazine owners advertised contests to encourage new scripts. She’s Got Harlem on her Mind features three of Eulalie Spence’s four prizewinning scripts: The Starter (1923), Hot Stuff (1927), and The Hunch (1927). These one-act Harlem Renaissance vignettes reflect the everyday lives and cultures of its Black community. They provide a window into the hopes and shattered dreams of Harlem’s inhabitants.
The Smuggler
Ronán Noone’s The Smuggler heightens the inherent challenges of the one-person play with rhyming verse. The one-act “thriller in rhyme,” as it is subtitled, is a 9,000-word poem, but solo performer Michael Mellamphy, under the direction of Conor Bagley, clears the hurdles of the challenging form and effectively engages and entertains the audience—all while crafting cocktails and, of course, rhyming.
A Bright New Boise
Samuel D. Hunter creates worlds of complexity and heartbreak in the most banal settings. A Bright New Boise, which premiered in 2010 at The Wild Project and is now making its off-Broadway debut at Signature Theatre as part of Hunter’s Premiere Residency, takes place in the windowless break room of a Hobby Lobby in Boise, Idaho. Under Oliver Butler’s skillful direction, with a strong ensemble and remarkable lead performance by Peter Mark Kendall, Hunter’s characters engage in a desperate search for meaning in ways funny, painful, and devastating.
The Wanderers
When Katie Holmes made her New York stage debut in 2008, she was married to Tom Cruise, and paparazzi descended on Broadway for her run in the All My Sons revival. Coincidentally, one of the first things Holmes says in Anna Ziegler’s The Wanderers is “I can’t go anywhere in public without a hassle.” Holmes portrays a beautiful, famous actress, which sounds like a good fit for her. The role is a bad fit for the play itself, however, as it does not cohere with the other story lines.