Why – in 300 Words – THE AUTOPSY OF JANE DOE, LIGHTS OUT, and Many Other Horror Flicks Should’ve Just…Come to Broadway?! (or Off, or Off-Off, or Off-Off-Off, etc. ad infinitum)

Add last year’s The Autopsy of Jane Doe and Lights Out to the long list of excessively derivative, and thus increasingly tired horror movies that would be better suited for the stage.

Continue reading “Why – in 300 Words – THE AUTOPSY OF JANE DOE, LIGHTS OUT, and Many Other Horror Flicks Should’ve Just…Come to Broadway?! (or Off, or Off-Off, or Off-Off-Off, etc. ad infinitum)”

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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