Theater

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Ward (left) and de Waal: Manipulative, in more ways than one.

‘Once’ at the Academy of Music (2nd review)

Not quite a concert, not quite a play

Once is a miniature folk concert accompanied by a slender story about a man and a woman who briefly come together, then go their separate ways.
Steve Cohen

Steve Cohen

Articles 4 minute read
Ward and De Waal: The best lovers are doomed.

‘Once’ at the Academy of Music (1st review)

Can music keep us together?

What’s more irresistible than two people falling in love to music? Especially when you can go on stage and order a beer and listen to Irish music at the same time? Whether such a love can last— that’s another story.
Naomi Orwin

Naomi Orwin

Articles 5 minute read
Gluck (left), St. Clair: Two women, one balcony.

Curio Theatre’s lesbian ‘Romeo and Juliet’

When gender is irrelevant

Everyone producing Shakespeare these days is adapting the Bard somehow. So why not a lesbian Romeo and Juliet? The tension of the gender swap grips the experienced theatergoer throughout the performance.
Alaina Johns

Alaina Johns

Articles 4 minute read
This assassination is videotaped.

Donmar’s ‘Julius Caesar’ in Brooklyn

Friends, Romans— and women, too

Phyllida Lloyd’s ingenious production of Julius Caesar stages Shakespeare’s classic in a women’s prison with an all-female cast. This audacious concept reveals the play’s relevance to what’s happening in our turbulent political world today.

Carol Rocamora

Articles 5 minute read
O’Reilly as Captain Jack: A fate he deserves?

Irish Rep’s ‘Juno and the Paycock’ in New York

The boil on the Boyles

The seductive Sean O’Casey masterpiece, Juno and the Paycock, runs the gamut from hilarity to heartbreak in a milieu constricted by both financial and emotional poverty, as well as suppressed rage at the insignificance of Irish lives as filtered through church-influenced godly standards of purity.
Myra Chanin

Myra Chanin

Articles 3 minute read
Moricette (center) with Benford (left) and Mutu: Latter-day Eliza Doolittle. (Photo: Stan Barouh.)

Danai Gurira’s ‘The Convert’ at the Wilma

Who’s the savage?

Danai Gurira’s The Convert uses the classic story of Pygmalion to explore the clash of religion and culture in colonial Africa. The key players, Gurira makes clear, are not the male warriors but the deceptively strong women who linger on the fringes of the struggle.
Naomi Orwin

Naomi Orwin

Articles 4 minute read
Braden: One singer’s pain.

‘The Devil’s Music’ at People’s Light

The night before Bessie Smith died

Miche Braden offers a dazzling performance as Bessie Smith, the singer known as “the Empress of the Blues.”

Bill Murphy

Articles 2 minute read
Dixon (left), Raphaely: Things that don’t change.

Life lessons from ‘4,000 Miles’ (2nd review)

Grandparents, grandchildren
and nine life lessons from 4,000 Miles

Vera and her grandson Leo are each lost in a journey of aloneness but determined to somehow survive without complaint. In less than two hours 4,000 Miles brings us nine truths too rarely found in theatrical experiences.
SaraKay Smullens

SaraKay Smullens

Articles 3 minute read
Raphaely (left) Leigha Kato: Strange choices in women.

Amy Herzog’s ‘4,000 Miles’ (1st review)

Grandmother and grandson:
An unequal matchup

As superbly portrayed by Beth Dixon, Vera is the sort of sharp and witty old lady we’d all love to have in our family. Her foul-mouthed, immature grandson is another story.
Steve Cohen

Steve Cohen

Articles 2 minute read
Chimo (left), Zegen: The product, or the process? (Photo: Joan Marcus.)

Joshua Harmon’s ‘Bad Jews’ in New York

What’s a modern Jew to do?

Joshua Harmon’s Bad Jews is a hilarious comedy turned dead serious about the Jewish identity crisis in today’s younger generation. If you’re secure in your own religious identity, then beware: Bad Jews will unsettle your certainties.

Carol Rocamora

Articles 5 minute read