This is both a beautifully told love story and a revisiting of some of the most harrowing moments in the struggle for gay rights.
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There is no one better at witty repartee delivered by characters both larger than life and all-too-human than Noel Coward.
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My love of Shakespeare drew me to this tiny theatre in the West Village, for in the title of this one man show are some of the fiercest words of Antony’s soliloquy over Caesar’s murdered body in ‘Julius Caesar’.
“Cry 'Havoc,' and let slip the dogs of war;
That this foul deed shall smell above the earth
With carrion men, groaning for burial.”
One of the things I adore about productions from The New Group is their willingness to take on plays that deal with tough subjects. I can’t imagine too many other theater companies that would have staged the terrifically terrifying Mercury Fur.
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I had never heard of, nor seen a production of The Price. I am a fan of Miller’s work and was also drawn in by what turned out to be the perfect casting of Mark Ruffalo, Tony Shalhoub, Jessica Hecht and Danny DeVito. I am so, so glad I went.
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I love theatre that breaks away from the norm; be it in staging, costuming, production or idea. Branden Jacobs-Jenkins’ Everybody is unconventional in almost every one of these categories.
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I’ve been hearing the buzz about Bridget Everett for a while, but it was only recently that my friend Elizabeth and I experienced the full-frontal, uncensored, Mr. Toad’s wild ride that is a Bridget Everett and The Tender Moments show. She spews wine, words and wisdom while changing from one revealing outfit to the next on the stage. Bridget Everett is not for the faint of heart, but man, what a talent.
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In Transit is a new and very original a cappella musical set in the New York subway system. It tells the stories of a baker’s dozen characters (3 played by the terrific Moya Angela) who are all trying to get by, move up, hang on and be human in the Big Apple.
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I loved, loved, loved the all-female Taming of the Shrew directed by Phyllida Lloyd last summer in the park, so I was thrilled to have the chance to see her all-female The Tempest at St. Ann’s Warehouse. This Tempest was the third leg of an all-female Shakespearean trilogy of which, unfortunately, I missed the other two, Julius Caesar and Henry IV.
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Covent Garden is our London ‘neighborhood’. It has proximity to the theaters, tons of great restaurants and lots of fun things to do.
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Upon being ushered to a lovely booth for two near the mirrored back wall, the lovely Marion wheeled up a champagne cart and asked if we’d like to start with a glass. Could there be any better way to begin an evening out?
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The Tate Modern is one of our favorite museums and this extraordinary exhibit highlights why.
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What can I say about a rock opera based on the life, trial and subsequent acquittal of Lizzie Borden? Go, go, go!
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The last time I saw theater this shockingly fantastic was a couple of years ago with The New Group’s “Mercury Fur”.
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There is no human relationship more prone to the extremes of emotion than that of mother and daughter and in Martin McDonagh’s revelatory The Beauty Queen of Lenane the levels of loathing, vitriol and volatility between Mag and Maureen Folan are incendiary. This is what great theater is all about; being unable to look away from the train wreck which is occurring onstage.
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Though there may be no story by Andersen more tragic than The Little Matchgirl, in this lovely, sweet mashup she pays for stories from Ole Shuteye, (a warm, charming and extremely funny Paul Hunter) the ringleader of a band of merry storytellers/dancers/singers and acrobats with her precious matches; giving both light and warmth to the tales and herself. Edie Edmundson beautifully breathes life into a Matchgirl who seems less a puppet than a human with Ms. Edmundson’s help.
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I have seen The Heiress in many incarnations over the years both on stage and on screen and I have to say that I have never seen a finer performance than this.
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Poor Anna Karenina. That is the usual refrain that rings out after one has read the novel or seen the movie(s). Tolstoy's tragic heroine, driven to give up her life of comfort and privilege, her place in society, her child and very nearly her life by her cruel, emotionless husband and the demands of her awakened heart.
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