EVERYBODY (Signature): A BBJ Capsule

Like much of Branden Jacobs-Jenkins’ dizzyingly thought-provoking work (mostly for better but sometimes for worse; it makes writing about his plays in a focused manner consistently difficult, as the numerous seemingly dichotomous parentheses will attest), his Everybody – a contemporary…revival? adaptation? translation?…of Everyman that played at the Signature Theatre this season – intellectually operates on too many levels to comprehensively process in a solitary viewing. Unlike the declaratory way that such morality plays are often taught, Everybody post-modernly liberates and connects Everyman simultaneously from and to, respectively, its historical roots, allowing both plays to resonate with various audience members in as many different ways as there are different types of people in the crowd.  Continue reading “EVERYBODY (Signature): A BBJ Capsule”

SELL/BUY/DATE (Mtc): Docu-Dramas; less of the former, more of the latter please

Anyone familiar with Sarah Jones probably knows her as an expert monologist, a performer capable of not merely playing but quite literally inhabiting various characters from ALL walks of life, regardless of age, race, ethnicity, gender, sexuality, or any of the other facets of personal identity.

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THE PENITENT (Atlantic): Dude, Where’s My *Fucking* Mamet? (Tweet-of-Consciousness)

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MAN FROM NEBRASKA (Second Stage): Rapturously Sculpting Our Rapture (Tweet-of-Consciousness)

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Theatre Roundup (Tweet-of-Consciousness)

THIS WEEK’S LINEUP
Bull in a China Shop (LCT3)
Dear Evan Hansen (Broadway)
Escaped Alone (BAM)
THE GABRIELS: Election Year in the Life of One Family (Public)
Hamilton (Broadway)
Natasha, Pierre & The Great Comet of 1812 (Broadway)
The Object Lesson (NYTW)
The Present (Broadway)
The Strange Undoing of Prudencia Hart (McKittrick)
Sunday in the Park with George (Broadway)
Tell Hector I Miss Him (Atlantic)

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Tweet of Consciousness: Weekend News Roundup

News regarding Escape to Margaritaville; Sweat; Hamilton in London’s quest to stop scalpers/touts; the Stuttering Association for the Young (and Bruce Springsteen, kinda); the Ambassador Theatre Group/Colonial Theatre; and the Nassau Coliseum:

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THE BABYLON LINE After Line After Line After Line After Line After Line After

What follows is a pithy textual representation of The Babylon Line, Richard Greenberg’s oh-so Greenberg-ian new play currently running at Lincoln Center’s off-Broadway Mitzi E. Newhouse Theater through January 22:[1]

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Tweet of Consciousness: THE FEVER (600 HIGHWAYMEN; The Public Theater’s Under the Radar Festival)

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Dear Second Stage: WHYYYYYYY?!?!

The Sparknotes version of the essential background information that you need to understand my impending temper tantrum: one of the best off-Broadway, nonprofit theatre companies – Second Stage (2ST) – recently upped their digs to the Great White Way by buying the Helen Hayes Theatre, the smallest on Broadway and thus perfectly suited for plays and more intimate musicals. For anyone who bemoans the lack of new plays on Broadway, this is objectively a stupendous development because 2ST has long been devoted to exclusively producing such work (they also stage new musicals like Next to Normal and Dear Evan Hansen, but despite the superior quality of these, I just can’t be AS excited about the prospect of more always-prevalent new musicals on the Great White Way). To quote lyrics from the former musical: “It’s gonna be good/It’s gonna be good/It’s gonna be great/It’s gonna be fucking great!” Or is it?

Continue reading “Dear Second Stage: WHYYYYYYY?!?!”