Theater Review

From Gloom to Gleam: Pinter’s The Room and Celebration

PinterIt is a cold, wintry twilight when Harold Pinter’s The Room opens; soon it will be dark. That is the typical mood and setting of early Pinter. The Room was his very first play, produced originally in 1957. On the same bill at the Atlantic Theatre Company is Celebration, his latest play to be produced (2000), with a totally different setting and ambiance: a bright, chic London restaurant with well-dressed revelers. Does this conjunction of early and late work tell us something meaningful about Pinter’s vision and the journey he has taken in his brilliant fifty-year theatre career?

Back in the late fifties, when he was spellbinding experimental theatregoers, the word most commonly used to describe his work was “menace.” Pinter had a way of making the stage vibrate with mystery and menace in such early works as The Room, The Dumb Waiter, The Birthday Party, and The Caretaker. Read more »

Albee's Seascape: A Lovely Escape from Intelligent Design

albeeEdward Albee is probably the most famous living playwright in the United States today. I say "probably" because Sam Shepard and David Mamet may actually come more quickly to mind, or even Neil Simon (but I don't count him for reasons I won't bother to explain). What makes Albee interesting to contemplate is just how high he was in everyone's esteem for the first decade of his career, and then how low for a couple of decades, and how more recently, post-Three Tall Women (1991), he has returned as a kind of off-stage gray eminence, highly respected but hardly loved. Read more »

Brilliant Sarah Kane Work Stalls in Static Production

PsychosisSometimes artistic women commit suicide. They may flirt with the idea for years. Sylvia Plath did it at the age of thirty. Sarah Kane did it at twenty-eight. It changes the way we look at their work. Born in Essex, England in 1971, and raised by evangelical Christian parents, Kane later characterized her religious upbringing as “the full spirit-filled, born-again lunacy.”

The French production of Kane’s final play, 4.48 Psychose , at the BAM Next Wave Festival in Brooklyn (Oct. 19-30), focuses on the isolation of the protagonist, her fierce commitment to knowing what it feels like to be deeply depressed, and her refusal— Read more »

Agamemnon: St. Veronica's Church, NYC

AgamemnonOur current political climate lends itself to Greek drama. At the start of the war on Iraq, New York theaters held spirited readings of Lysistrata, which seemed to echo the hope that war could be halted by civilian resistance. But as the war dragged on, the national mood seemed to shift from spunky comedy to bloody tragedy. Now, after "Mission Accomplished" and many, many under-reported deaths, we need an Agamemnon. Read more »

Brecht: The Caucasian Chalk Circle

BrechtLast Friday night, beset by boredom, I decided to attend a production of Brecht’s The Caucasian Chalk Circle in which most of the characters were played by life-sized puppets. I don’t know what I expected, but I didn’t get it. What I got instead was a spectacularly odd experience: puppets singing, dancing, and spouting Marxist dogma. The cumulative effect was hallucinatory and disturbing. It was like watching an unaired episode of Sesame Street in which Elmo is brutally executed by guerilla soldiers.

Brecht’s plays balance a studied anti-realism with a cruel insight into human nature and social injustice. In The Caucasian Chalk Circle, a peasant girl named Grusha decides to care for an abandoned baby whose noble family has been targeted for execution by a revolutionary army. She’s chased through the Caucasus Read more »

SUV: The Musical!

SUVWhen the press release describes the plot of a musical as “boy-meets-girl, boy-designs-really-big-car-for-girl, girl-leaves-boy-for-environmental-activist, boy-is-sentenced-to-death-for-crimes-against-humanity,” you know you’re in for a wild ride. This farce is bursting at the seams with the giddy anarchy of the Marx Brothers, the pop culture references of the Simpsons – and the anti-big-auto fervor of Ralph Nader.

This product of a team dubbed Neo-Shtick Theater comes together under director Eric Oleson, producer Gersh Kuntzman (also responsible for the book, and with the stage role of Judge Green), songwriter and music director Marc Dinkin, and choreographer Katie Workum. This is Neo-Shtick Theater’s second appearance at the Fringe Festival, New York City’s annual summer indie arts extravaganza. Read more »

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