This production has transferred to the Women’s Project Theater (2162 Broadway at 76th) and will run through Jan. 19. For tickets and more information, visit mrssternwanders.com.
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.
For a while in Ken Urban’s play A Guide for the Homesick, the author’s subject seems predictable. Set in Amsterdam, near Schiphol airport, the two-hander opens with a tall, strapping black man named Teddy (McKinley Belcher III) inviting a younger, white backpacker into his room. They’ve just met at a hotel bar, where the backpacker, Jeremy (Uly Schlesinger), has missed his flight. Teddy offers his guest a beer and a floor to sleep on, but the situation vibrates with sexual tension.
Kallan Dana’s new play Racecar Racecar Racecar is an original tale of a daughter-dad adventure in which character is tested, quite literally, if preposterously, during a cross-country road trip. Directed by Sarah Blush, and making its world premiere at A.R.T/New York Theatres, this surreal one-act play packs an emotional punch.
It’s impossible to discuss Pen Pals, Michael Griffo’s new two-hander at the Theatre at St. Clement’s, without first bringing up A.R. Gurney’s Love Letters. A Pulitzer Prize finalist, Love Letters consisted of nothing more than two actors reading letters to each other, recounting an epistolary romance spanning almost a half-century. It was so popular because, first of all, it was easy to produce: small set, small cast, and celebrity actors who could jet into town, get onstage, and read the text without having to memorize anything.
What does it take to turn an extraordinary Shakespearean tragedy into an extraordinary production? The first step is vision. King Lear, with Kenneth Branagh in the title role, reflects the artistic vision and collaborative muscle of a directing triumvirate—Branagh, Lucy Skillbeck, and Rob Ashford. They have reduced the Bard’s three-hour-plus saga to two hours with no intermission and cast current and former Royal Academy of Dramatic Art students to bring new energy to a complex story. This series of theatrical risks yields cohesive and riveting theater.
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.
Tina Packer’s Women of Will is meant to be an educational performance piece that explores Shakespeare’s trajectory as a writer through the lens of his female characters, diving into issues of gender and power. The piece has had various productions over the years and was published as a book in 2015 (subtitled Understanding Shakespeare’s Female Characters). Eric Tucker, the artistic director of Bedlam, who has directed the show before, now directs what he has referred to as Women of Will 2.0, for a limited engagement at the West End Theatre.
Playwright Lynn Riggs is best remembered for Green Grow the Lilacs (1931) because it was the basis for Oklahoma! (1943). Now his play Sump’n Like Wings is having its New York debut 99 years after it was written. Such resurrection of a forgotten work is the core mission of the Mint Theater, as are the deep research and care that inform its meticulously crafted productions.
Director David Cromer has the ability to conjure expansive worlds from small, banal settings: For Meghan Kennedy’s The Counter, the set (designed with remarkable detail by Walt Spangler) occupies only a part of the space available on the stage of Roundabout’s Laura Pels Theatre. As he did with A Case for the Existence of God at Signature Theatre, Cromer encloses the characters in order to open them up. Of course, in order to perform this low-key magic, there must be sharply drawn, deeply human characters to work with.
It’s no surprise that the Trump era and its aftermath have been a boon to documentary plays. These plays don’t all address explicitly political topics, and they vary widely from one another in tone, method, and approach; but hovering over this era’s documentary plays is the relentless assault being waged on the idea of truth, on the very nature of reality itself, and the uncertainty over whether our society and institutions will persevere.
Meet your new mother-in-law, Beiv (Kate Mulgrew): she’s Ireland’s “great feminist artist” who lives on a remote island off the coast of West Cork, has an acerbic wit and an imperious manner, a penchant for knocking down the walls of her house, a strained relationship with her son, and may have murdered her husband. Oh, and she didn’t know her son was married until you showed up with him from San Francisco. This is the situation that 23-year-old Bonnie (Ayana Workman) finds herself in at the outset of Nancy Harris’s overstuffed mystery The Beacon, which was commissioned by Druid Theatre Company and now arrives at the Irish Rep after a 2019 run at the Gate Theatre in Dublin.
Arlene Hutton’s abortion-rights drama Blood of the Lamb arrives at an unusually timely moment. In the last few days NBC News has reported that maternal deaths in Texas increased 56% between 2019 and 2022, a period that includes the 2021 ban on abortion care in the state. Although Margot Bordelon says in her director’s note that the play began as a work of “speculative fiction,” the serendipity is a boon. The underlying story feels alarmingly real.
When the program comes with a glossary, that can be a trouble sign. The glossary for The Witness Room, Pedro Antonio Garcia’s drama-with-some-laughs, runs to three pages. So much legalese—J-D Redcap, Three and a C, Chomo—how much will an audience member be able to understand? And for the first several minutes, it’s a struggle to figure out what the heck’s going on in set designer Daniel Allen’s cluttered witness room. Stick around, though, and the narrative becomes clearer. And what follows is a compelling peek into the lives and interactions of NYPD cops, their legal maneuverings in pretrial, and how slippery their moral code can get.
Matthew Freeman’s play The Ask seems deceptively simple on the surface and remains so for quite a while. Two women are meeting in an Upper West Side apartment. The older woman is a well-known photographer, and coffee-table art books (Alice Neel, e.g.) lie on the floor of her apartment; photographs (by Cindy Sherman, among others) adorn the walls. Craig Napoliello’s impressively detailed set evokes solid wealth—the reason the younger woman is paying a call.
Life and Trust, a new theatrical event from Emursive, which produced the Punchdrunk hit Sleep No More, takes as its inspiration the Faust legend and mixes it with the 1929 stock market crash, the structure of A Christmas Carol, and glimmers of Citizen Kane. As with Sleep No More, attendees wear masks and performers do not, and silence is the rule. The audience, too, plays a part: The evening begins in a cavernous lobby with red-marble columns at “Conwell Tower” (formerly City Bank–Farmers Trust), half a block from Delmonico’s in lower Manhattan. A placard announces the date, Oct. 23, 1929, and the event: Life and Trust Bank’s Prospective Investors’ Fête. The audience is the “investors.”
Technology is being used more, and more inventively, in scenic and production design for the theater. Social media has become a vital part of marketing—and occasionally casting—shows. But tech has yet to make a big impression in theater as a subject. Three decades into the 21st century, plays about life in the digital age are still scarce. (Maybe that’s why Job, which recently transferred to Broadway, hit a nerve.)
Perhaps the first thing to clarify about Odd Man Out is that Martín Bondone’s play is unrelated to the 1947 movie by British director Carol Reed that starred James Mason as a robber on the run in Belfast. Although Reed’s work is a famous film noir, Bondone’s Odd Man Out is more than noir—it’s performed in total darkness.
Considering it has a cast of two, The Meeting: The Interpreter is a very busy production. The actors, Frank Wood and Kelley Curran, move all over the stage—standing here, kneeling there, spinning around in wheeled chairs, dancing a little—and Curran, who plays multiple characters, repeatedly switches her costume or wig. Video, puppets, sound effects and a slew of props are also part of the action.
Doménica Feraud’s new play is set in a grief support group, where members reminisce about the “someone spectacular” they’ve lost and figure out how to cope without them. This should be very moving, but instead it seems trite and formulaic.
Italian playwright Luigi Pirandello’s Six Characters in Search of an Author is considered a pillar of modern drama. To say Phillip Howze’s new play Six Characters deconstructs it would be a massive understatement, as Howze pours a bewildering array of ideas and scenarios into his homage.
Sam Collier’s A Hundred Circling Camps arrives at Atlantic Stage 2 as part of Dogteam Theatre Project’s inaugural season, under the aegis of Middlebury College in Vermont. Directed by Rebecca Wear, and with impressive ensemble acting, the production underscores the power of public protest.
Ryan Spahn’s Inspired by True Events is an amalgamation of docudrama, backstage comedy, psychological thriller, and immersive theater. The boundaries between the genres often blur, and the effect is often comical, sometimes chilling, and occasionally disorienting. The production’s fun-house quality is encapsulated in the paradoxical and droll preshow announcement: “The following story you’re about to witness is inspired by true events. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.”
A Midsummer Night’s Dream, streamlined to 90 minutes and staged outdoors by Classical Theatre of Harlem, is as cool and fizzy as a glass of Prosecco. Judging by the wild guffaws and applause on opening night, the zanies who populate this most fanciful of Shakespeare’s comedies (embodied by a top-flight cast of youthful New York actors) kept a steady hold on playgoers’ attention, despite the distraction of sirens punctuating the Bard’s iambic pentameter, helicopters overhead, and heat only slightly below the day’s high of 90 degrees Fahrenheit. At a dramatic moment, an explosion of amateur fireworks just outside the amphitheater added a fortuitous burst of red and orange to the twilit sky, eliciting a gasp of audience amusement.
