I Am Not an Allegory (these are people i know) jumps into the big questions right from the start, with a conversation between café coworkers Ames (Natalya Krimgold) and Severin (Conor Daniel Bartram) in which she puzzles over whether identity is intrinsic or constructed and what would happen if she switched lives with the people she passes when she is running, and he wonders whether there is any meaning that isn’t manufactured. Ames and Severin are two nodes in the network of characters who populate Libby Emmons's play, in which a dance class run by Danesha (Masonya Berry), forced to retreat home after a failed attempt at a professional dance career in New York City, is the hub of their intersection. Danesha is best friends with Ruby (Olivia Nice), whose feelings of emptiness are not alleviated by her relationship with Dan (Mateo D’Amato) and his concerns with power. Rounding out the class are Jess (Lindsay Perry), a single mother supporting herself with some unexpected stay-at-home work; Marcia (KL Thomas), who is afraid of accidentally revealing what she sees as her weirdness at a job interview; and Mary Ellen (Kyra Sims), who criticizes the lack of ambition shown by her boyfriend, Lando (Clifford Ray Berry), and his dreams of a music career while herself subsisting on red wine and selling jewelry.
The tenth annual FRIGID Festival continues apace in New York City's East Village, and in our second of two dispatches from it, we discuss comedies by three solo performers, whose exploits take the audience to places including Canada's "best city," a Mormon mission to Argentina, and one of the least relaxing mudbaths ever. We are touching on only a fraction of the 30 shows in this year's festival, but more information can be found on the FRIGID New York website, where there is also a deal available that gets you into three shows for just $30. FRIGID is proud to be the only NYC festival that gives all proceeds for ticket sales to the actors and creative team behind each show. The show with the highest box office will receive an encore performance at the end of the festival, and audiences are encouraged to vote for their favorite shows.
The tenth annual FRIGID Festival is underway in New York City's East Village, and in our first of two dispatches from it; our first trio of plays under discussion includes a twelve year-old pornographer-for-hire, an irreverent grandfather, and a cabin in the woods. We will touch on only a fraction of the 30 shows in this year's festival, but more information can be found on the FRIGID New York website (http://www.frigidnewyork.info/), where there is also a deal available that gets you into three shows for just $30. The show with the highest box office will receive an encore performance at the end of the festival, and audiences are encouraged to vote for their favorite shows.
For much of Due to Events, the terrific and very funny new play by Jean Ann Douglass and Eric John Meyer, the conversational partners available to protagonist Hero (Anne Gridley) are one living animal and one dead one. Hero, a writer whose work concerns "the future," has been arrested and confined by order of the authorities to her one-room apartment while she awaits a trial with no set date, allowed to communicate with representatives of those authorities only by speaking into a taxidermies squirrel. Upon its arrival, this squirrel catches the interest of Hero's Cat (Laura Campbell), the only living thing that she has contact with aside from her dedicated if unconventional Lawyer (Ben Beckley).
Anyone expecting from Theban Plays a straightforward modernized retelling of Sophoclean tragedies should abandon that idea. This highly experimental work, conceived and directed by Asa Horvitz and created by its performers, uses its ancient Greek antecedents, short pieces of which are read at several points, as a jumping-off point for a tapestry of monologues, video, audio and music, and even painting. Taken together, these elements bring lines of thought inspired by its sources to bear on an interrogation of aspects of the modern condition.
The Obie Award-winning The Fire This Time Festival, a showcase of "early-career playwrights of African and African American descent," has returned to the East Village for its seventh iteration. Its 10-minute play festival features a strong slate of seven new short plays that demonstrate the festival's mission statement, that "[t]he African American experience is not represented...by one voice or one style," with tremendous impact.
A chance meeting in a high school physics class kicks off the narrative of Bronx-born playwright Toni Press-Coffman’s Touch. Kyle (Josh Triplett) gets to know quirky free-spirit Zoë after she pokes her head into the wrong Arizona classroom. After graduation, they marry, and Kyle channels his lifelong love of science center into a career in astronomy. Aside from some of the usual marital disagreements, their relationship brings out the best in one another, until, on one Thanksgiving spent with Kyle's childhood friend Bennie (Alex Etling) and Zoë's sister Serena (Cassie Wood), a random act of violence alters the course of all of their lives.
Ushering in the New Year, Red Bull Theater brings us a tragic tale of sex in payment for murder. Jesse Berger sure-handedly directs Thomas Middleton and William Rowley's 1622 tragicomedy The Changeling, the main plot of which introduces the noble Beatrice-Joanna (Sara Topham) as she finds a "giddy turning" in herself from Alonzo de Piracqo (John Skelley), to whom her father, Vermandero (Sam Tsoutsouvas), intends her to be married, towards Alsemero (Christian Coulson). In order to "change [her] saint," she eventually enlists the aid of her father's servant De Flores (Manoel Feliciano), whom she professes to abhor and whose skin condition suggests a spatter of blood across his face, to remove the obstacle that is Alonzo.
Harry Potter and the Cursed Child premieres on stage in England in July, and Warner Brothers looks to extend its cinematic success with J.K. Rowling’s franchise with a trilogy of Fantastic Beasts and Where to Find Them films beginning in November. For fans of a certain scarred wizard who can’t wait that long, or who can’t afford to fly to London for a play, there is another delightful option to be found right now: Puffs, or: Seven Increasingly Eventful Years at a Certain School of Magic and Magic. From playwright Matt Cox and Kristin McCarthy Parker, director of this past summer’s Jurassic Park parody Hold on to Your Butts, Puffs follows the members of the perennially last-place house through their years at a well-known English school of magic as they exist on the margins of, and sometimes intersect with, chosen-one Harry’s story, a bit like Rosencrantz and Guildenstern are Dead without the existential dread.
I was in my local supermarket when Gwen Stefani came on the speakers:
And it made me wonder how many teenage music consumers around the world had any idea where that little tune came from. My conclusion? Not many.