The Deep Blue Sea is a wonderful play by Terence Rattigan, with a wonderful lead role for a woman. Helen McCrory is a wonderful actor who takes full advantage of the opportunities the part offers in a splendid production that I saw during a visit to London at its National Theatre.
The elusive O-1 visa for individuals with extraordinary skills is a rare bird in the immigrant community, often going to big-name, A-list entertainers. Think Celine Dionne (Canadian) or John Oliver (a classy Brit). Not some second-rate Moldovan clown who caters birthday parties at McDonald’s. But that’s what idealistic Nadia (Julia Hurley) is, and her O-1 […]
The Last Class: a Jazzercize Play makes the most of its setting. The story is told in real time during an actual jazzercize routine. The cast’s hard-earned sweat is corporeal proof of their characters’ internal conflicts. There are no convenient black-outs or set-changes to catch your breath during. The relentless peppiness of the exercise routine and […]
For the past 25 years, Shakespeare Theatre Company (STC) has memorably gifted our community by remounting one of its recent favorite productions in free performances. These used to be performed at Carter Baron that offered a sylvan setting, opportunities for family pre-show picnics on the grass, and the happenstance adventures of actors sharing the staging with […]
Signature Theatre’s revival of the 1992 musical Jelly’s Last Jam is a rich slurry of jazz, blues and ragtime music, thunderous performances and some of the most extraordinary tap dancing you’re ever likely to see, assembled by choreographer Jared Grimes.
Review: Florence Foster Jenkins. Streep is marvelous, but nearly eclipsed by Simon Helberg and Hugh Grant
The story of Florence Foster Jenkins is true; it’s strange; it brings up a lot of interesting questions about the intersection of money and the arts; and it is now a movie. In fact, it is the latest star vehicle for that most renowned of contemporary movie actors, the one and only Meryl Streep.
Here’s how you know you’re in a Martin McDonagh comedy: Father Welsh (Chris Strezin), Leenane Village’s dipsomaniacal priest, wanders into the fractious home of the Connor brothers to announce “Tom Hallan killed himself” — and the audience bursts out in laughter.
So, why doesn’t Shakespeare excite anyone anymore? And, what would it take for Shakespeare to garner the same level of hype as Star Wars or Harry Potter? These are the central questions of FEAR: a comedy? about performing Shakespeare, written and directed by Kathleen Akerley and produced by Longacre Lea.
“He’s very good at what he does.” Despite 100 minutes of blistering and savagely funny assaults on the mogul-turned-pitchman-turned-megalomaniac, monologist Mike Daisey still pays Donald Trump credit in his one-man performance of The Trump Card, now playing at Woolly Mammoth Theatre.
Typically readers of plays are drama students, theatre professionals, and other artistic nerds like myself. J.K. Rowling and friends have clearly shattered that barrier last weekend with publication of the rehearsal script of Harry Potter and the Cursed Child—Parts One and Two.