All in Play

REVIEW: Confronting Race, Gender, Sex, and History in “Slave Play” on Broadway

Following a sold-out run downtown, Jeremy O. Harris’ “Slave Play” is now on Broadway.  At once hysterical and alarming, this trenchant satire of white fragility, identity politics, racism, psychotherapy, and a certain brand of its crunchy practitioners is a conversation piece to top them all.  Thoughtfully written, constructed, and executed; thought-provoking, relevant, and a herald of what can be, “Slave Play” is a must-see of the season.

REVIEW: Confronting the past in “jazz singer”

In “jazz singer” a group of artists grapple with making a piece of theatre about the film “The Jazz Singer” by examining its roots in Jewish mythology, wrestling with its use of blackface, exploring vital themes of assimilation, appropriation, and atonement, and questioning its legacy.  While the piece substantively evinces the feel of a work still in progress, the production design is impeccable and unimpeachable, and its mission is achieved.

REVIEW: Shaw’s “Caesar & Cleopatra” is superbly rendered by the Gingold Theatrical Group

The Gingold Theatrical Group is currently presenting a rare revival of Shaw’s 1898 play “Caesar & Cleopatra”; superbly rendered, well-acted, and keenly directed, this production makes a convincing case for reconsidering “Caesar & Cleopatra” as a play worthy of more examination and rightful placement in the canon of classics.

REVIEW: Tom Hiddleston in “Betrayal”

Tom Hiddleston’s magnetic and gripping performance is the reason to see this otherwise pretentiously unadorned and wholly unremarkable production of Harold Pinter’s “Betrayal”—the third major revival on Broadway in just 19 years.  The text is gold but this muted and non-contextual production does not do it justice.

REVIEW: “Sea Wall / A Life” on Broadway

“Sea Wall / A Life”—two monologues by two different playwrights performed by two different actors—is a unique offering for Broadway: two well-written pieces of storytelling whose power derives from the strength of their solo performance, rather than from any theatrical trappings.  Following a transfer from the Public Theatre, the “play” still doesn’t justify its composition, but is saved by engaging performances by its marquee stars: Jake Gyllenhaal and Tom Sturridge.

REVIEWS: “Moscow Moscow Moscow Moscow Moscow Moscow”, “The Rolling Stone”, and “Toni Stone”

Three new plays opened at three of Off-Broadways best non-profit theatre companies over the course of the last month.  I take a brief look at “Moscow Moscow Moscow Moscow Moscow Moscow” at MCC Theater, “The Rolling Stone” at Lincoln Center Theater, and “Toni Stone” at the Roundabout Theatre Company—all three of which are critic’s picks!

REVIEW: Everett Quinton in Charles Ludlam’s “Galas”

For the 50th anniversary of the Stonewall Uprisings and in celebration of World Pride, the Theatre at St. John’s presents the first-ever revival of Charles Ludlam’s 1983 play “Galas: A Modern Tragedy”, a broadly comical travesty of the life of iconic opera singer Maria Callas.  Downtown staple Everett Quinton (Ludlam’s partner) plays the titular role in a production that harkens back to a time when the West Village was the center of queer underground theatre.