If you’re looking for a normal review of last season’s Yen at MCC Theater, then keep looking.
Martín Zimmerman’s On the Exhale at the Roundabout Theatre Company was a 60-minute masterclass in non-polemical and thus effective theatrical activism, anchored by the best performance of last season by Marin Ireland and the ingenious direction of Leigh Silverman.
Will Eno is this generation’s Samuel Beckett, isn’t he?
Erica Schmidt’s All the Fine Boys at the New Group Theatre chronicled how systematic patriarchy first destructively subsumes and dictates the worldviews of two girls too young to know any better.
Very few other playwrights so evocatively plumb the plights of modern women as Penelope Skinner.
In The Outer Space at the Public Theater – the best musical of last season – the inimitable Ethan Lipton utilized the ludicrously wide range of his musical voice to leave Earth far behind, both literally and figuratively, to obtain new, creatively absurd and absurdly creative, allegorically-resonant perspectives on the existentialism of Earth-bound existence.
Since The Lightning Thief: The Percy Jackson Musical – based on a popular young adult book series – is now going on tour, my belated thoughts on its New York City engagement at the Lucille Lortel Theatre earlier this year have become relevant once more:
=As a newcomer to the #FreelanceLyfe, I’ve been revisiting some movies and shows from earlier this year trying to detect trends that would make for juicy pitches in the eyes of omnipotent editors.
Michael McKeever’s Daniel’s Husband proves yet again that Primary Stages continues to be a bafflingly ignored hotbed of quality new plays.
Kneehigh’s 946: The Amazing Story of Adolphus Tips at St. Ann’s Warehouse is more sophisticatedly resonant than a large majority of theatrical kiddie fare, mostly because it sensitively touches upon mature aspects of war that other youth-focused shows mistakenly deem objectively inappropriate for children.