“Whatever it is, we can work it out. We can make it better.” So says the well-intentioned but clueless Stanley (Mike Meagher) to Hannah (Aileen Brenner), his suicidal ex-girlfriend, in an early scene in the morbidly fascinating 7 Lessons on Suicide. In a play replete with aspiring suicides, Stanley, the only character who seeks to […]
“It is only too true that a lot of artists are mentally ill – it’s a life which, to put it mildly, makes one an outsider,” Vincent van Gogh once observed. “I’m all right when I completely immerse myself in work, but I’ll always remain half crazy.”
In a pivotal scene in the second half of Case 22, a judge tasked with assessing a case of alleged child abuse engages in careful deliberation, reaches a verdict, assembles the courtroom, raises his gavel and – sorry, scratch that.
“My name is Slash Coleman. I’m a Jewish scientist – in my mind.” With these opening words, the performer of the one-man show Chaidentity articulates ground rules that, not surprisingly, he quickly defies.
Tzvi rates it: As The Teacher’s Lounge or One Child Left Behind begins, loudspeakers broadcast brief statements from George W. Bush and Barack Obama about the success – or lack thereof –
Tzvi rates it: “He is as big as… a refrigerator!” So says Mr. Beaver about Aslan in the Adventure Theatre’s production of The Lion, the Witch and the Wardrobe, and so he is.
Tzvi rates it: Life Inside an Open Kaije bills itself as a play about growing up with diabetes, and so we enter the theater with certain expectations. We imagine, naively, that prolonged suffering generates profound art,
Tzvi rates it: “Are we starting?” asks one of the dancers moments after they traipse upon the darkened stage. And the company, in blackness, proceeds to debate this question with all the gravity and decisiveness of a customer in an ice cream shop