Red Bull Theater reliably mounts excellent productions, and its ’Tis Pity She's a Whore is no exception. John Ford's early 1630s revenge tragedy could be most simply summed up, as some of Red Bull promotional materials do, as Romeo and Juliet with incest. It includes an earthy nurse, a well-meaning but ultimately ineffective friar, and, of course, some extremely forbidden love.
A wooden chair, really the only prop onstage in Martin Dockery’s Moonlight After Midnight, is also the only thing in this mind-bending play that actually remains what it seems from the first. A woman (Vanessa Quesnelle) walks into the hotel room of a man (Martin Dockery). After a tense exchange that suggests that they know and love each other, the lights are turned up, and the woman claims that she has been sent by the "service" that she works for. The man denies that he made the call. She says the caller wanted her to roleplay his wife. He says not to mention his wife. He does, however, acquiesce to her demand that he pay her for her time in any case, paving the way for an encounter during which we never learn either of their names, but which qualifies as a journey of discovery nonetheless, one in which their roleplaying continually reboots.
Coinciding with the return of AMC’s Mad Men is the current run of actor, director, and playwright Max Baker’s new play, Live from the Surface of the Moon, another look at American culture as it runs out the clock on the 1960s. Baker trains his gaze not on the halls of Madison Avenue but on one Cleveland family’s wood-paneled living room on the nights of the moon landing and New Year’s Eve, 1969. As the play begins, Don (Ian Patrick Poake) and his pregnant wife, Carol (Kate Garfield), have invited their married friends Wendell (Brian Edelman) and June (Breanna Foister) to watch the astronauts step onto the moon; also part of the viewing party are Carol’s father, Joe (Kevin Gilmartin), who lives with them because of his senility, and Holly (Lisa Anderson), a slightly awkward young woman whom Carol hopes to turn from acquaintance to babysitter.
A boy is a child. A girl is a thing. These words greet the birth of Sunny Li in The World of Extreme Happiness, the new play from award-winning Playwright-in-Residence at the Manhattan Theatre Club, Frances Ya-Chu Cowhig. Sunny’s arrival into the world in 1992 rural China puts her place in her father’s heart somewhere below the female racing pigeon about whom he rhapsodizes and dreams. Accordingly, it is not even clear at first that he is talking about a pigeon and not a woman, while the newborn girl is quickly, albeit temporarily, consigned to a slop bucket to die. When we next meet Sunny (Jennifer Lim), she is 18 and part of the janitorial staff in an urban factory with a PR problem due to employee suicides. In response, Artemis Chang, vice-president of Price-Smart, the Walmart-esque corporation supplied by the factory, suggests a documentary touting the struggles and successes of their employees, to be introduced publicly by an appropriately appealing female peasant employee. While Sunny’s coworker Ming-Ming leads her into the world of self-help guru Mr. Destiny, the documentary leads her into competition with Ming-Ming, all of which ultimately forces her to make a fraught decision about whether or not she will speak truth to power.
This is the second of two dispatches from the theater festival whose name continues to reflect conditions in our fair city: Frigid New York. Frigid is in its ninth year, and all of its revenue goes directly to the artists involved. This year, there are 30 shows running for a combined total of 150 performances in two theaters. We have previously discussed Frigid's Dog Show, The Can Opener, and the excellent Richard the Third and Goal; here, we talk about Bi, Hung, Fit...and Married, which maps an “erotic journey” to escape heteronormativity; Erik, a comic reimagining of The Phantom of the Opera; and 300 to 1, a fantastic one-man show that brings Sparta and Flanders to Manchester.
This is the first of two dispatches from the theater festival whose name is currently more than apt: Frigid New York. Frigid is in its ninth year, and all of its revenue goes directly to the artists involved. This year, there are thirty shows running for a combined total of 150 performances in two theaters. Here, we will discuss three of those thirty, ranging from light comedy through horror-tinged musical to an excellent reimagining of Shakespeare by way of professional sports.
The New York Shakespeare Exchange has its finger in more than one pie, and not all of them are, as in Titus Andronicus, filled with human flesh. In addition to its current production of Shakespeare’s gory early crowd-pleaser, the group created The Sonnet Project, which develops a short film shot in a “cultural/historic” NYC location for each sonnet. The results can be viewed online or through a dedicated mobile app (available for IOS or Android). It also runs periodic pub crawls called ShakesBEER, which we can personally recommend as a fun way to experience a few new drinking establishments in the City accompanied by themed scenes or mash-ups from the Bard’s dramatic canon.
Very short plays are at their most effective when they enter into and add to an existing conversation, and the plays that comprise the Sixth Annual The Fire This Time Festival recognize this. The festival exists as “a platform for talented early-career playwrights of African and African American descent to … move beyond common ideas of what’s possible in ‘black theater’” to demonstrate that “[t]he African American experience is not represented solely by one voice or one style,” and the seven voices that stage these short pieces--this year each inspired by the photographs of Alex Harsley of the 4th Street Photo Gallery, just down the street from the theater and itself worth a visit -- give expression to the diversity of the American experience of people of color in a way that is both particular and inextricable from current (and often longstanding) social flashpoints.
Spaces on the set of Brian Watkins's new play, Wyoming, are defined almost exclusively by tables -- bar tables, diner tables, kitchen tables, locations that often forge and sometimes force connections between people. Tables are just part of a range of everyday objects, including a locked box, a child's headphones, and a slide projector, that take on symbolic resonance in this meditation on time, choice, secrecy, and -- or perhaps through the lens of -- family. Wyoming, set primarily in the mid-'90s, centers on a Thanksgiving dinner during which the past of the particular family in question becomes unavoidable in various ways and for various, interwoven reasons. This breaking both of bread and of silences is directed by Danya Taymor, niece of the iconic Julie, and features original music from Robin Pecknold, of indie-folk powerhouse Fleet Foxes, and Neal Morgan that appropriately evokes a kind of windswept melancholy.
Blood, fittingly, gets on everything in Theatre for a New Audience's Tamburlaine, Parts I and II. For the stylized violence in this adaptation of two of Christopher Marlowe's Elizabethan box-office hits, that sometimes means literal buckets of vital fluid; other times, the hem of a white garment trails through a pool of it, or a hand leaves a partial print on a lover’s face. Ably condensed into two 90-minute plays with a half-hour intermission (the minimum amount of time needed to sufficiently de-gore the stage), Tamburlaine's epic military conquests raise him from shepherd to emperor on a bare stage adorned only with hanging plastic strips at the rear that render the world of the play as a meat locker or Patrick Bateman's living room.