One of the great challenges for a director involves taking a slightly dated play like Neil Simon’s I Ought to Be in Pictures and making it work. That the latest Peter’s Alley Theatre Production is so successful is a tribute to director Aly B. Ettman and her talented cast.
Some plays are like symphonies or pops concerts, with many players, working in sync to tell a grand story. Others are like chamber music, smaller affairs where the ensemble has to be even more finely tuned. As a play, Lanford Wilson’s Talley’s Folly is like a niche within a niche.
Torn between two worlds, one where ignorance equals survival and one where knowledge equates to power, a young Liverpool hair dresser attempts to bridge the gap by being tutored in English Literature in Educating Rita. Set in the 70s, the comedy is filled with razor sharp wit and is utterly inspirational.
In the William Kennedy novel Ironweed, Francis Phelen drops his infant son while changing his diaper. The boy’s neck snaps and he dies. Toward the conclusion of the first chapter, this passage appears: “Francis found the grave without a search. He stood over it and reconstructed the moment when the child was slipping through his […]
Peter’s Alley Theatre Productions, in its current production of Proof, tests the following theorem: let x = one of the thirty best English-language plays of the last twenty years and let y = a bold new approach, utilizing excellent actors. Does x factored by y yield a fresh, revitalized version of Proof?