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.
It may be reductive to say that Trish Harnetiaux's new postmodern comedy is about love and relationships, but it's the easiest way to begin. How to Get into Buildings is in some ways a play about itself, thick with meta-theatrical moments. In other ways, it is as if Samuel Beckett directed Magnolia. Harnetiaux cites her structural inspiration as exploded-view diagrams and their arrangement of parts in relationship but not in contact with each other, perhaps echoed in one character's predilection for bento boxes.
Trigger Happy!, storytelling performance artist Dandy Darkly’s newest work, is a mesmerizingly entertaining, dark-toned foray into social criticism, a post-mortem on a still-living patient: America. The themes Mr. Darkly selected for his autopsy are in the media on a daily basis. The opinion page in The New York Times, Salon, and the Huffington Post supply daily missives about damaged U.S. soldiers returning from perversely unfocused wars, our cult of celebrity, gentrification neutering a once vibrantly inclusive social scene, and how political correctness police act to straightjacket open social discourse. Mr. Darkly's richly detailed, outrageous, and metaphoric tales examine these themes with an exactitude whose impact leaves our conventional media eating dust -- and his audience breathless with both awe and laughter.
Gavin Broady and the Hook and Eye Theater company’s outstanding new play God is a Verb invites audiences to step out of the box and into the geodesic dome. This bold, visually and intellectually exciting production revolves around quirky theorist, designer, and inventor R. Buckminster Fuller (1895-1983), but it is assertively not, as the program reminds us, a biographical piece. Instead, billed as an absurdist comedy, it takes place within its subject's mind, focusing on his decades-long World Game Project but skillfully interweaving the personal and the political, the individual and the global, throughout its 100 compelling minutes.
After last spring's excellent Live from the Surface of the Moon, writer-director Max Baker returns to The Wild Project in the East Village with his new play, Because Me. Live from the Surface of the Moon focused on a small group of friends navigating America’' transition from the '60s into the '70s, and Because Me similarly examines a small network of individuals in the context of their historical moment; but here that moment is our present. Whereas Baker's previous play included a significant New Year's Eve, its counterpart threshold here is more personal: protagonist Else's looming 30th birthday.
Shakespeare is one of the most frequently adapted playwrights in the English language, to the point that Shakespearean adaptation studies has become its own academic sub-field, and Macbeth, with its gothic elements and relatively streamlined tragedy of ambition, is a strong contender for his most frequently adapted play. Aside from more straightforward versions like the upcoming Michael Fassbender movie, the film Scotland PA, for instance, reimagined it as the story of a ruthless fast-food entrepreneur, Kurosawa’s Throne of Blood transposed it into feudal Japan, Mickey B filtered it through the experiences and language of Northern Irish inmates, and no fewer than two heavy metal bands have turned it into concept albums. Tom Slot’s adaptation, Macbeth (of the Oppressed) is less radical in its changes than some of these, but the changes it does make produce some radical effects.