Saturday, August 20, 2016

Fringe roundup

I saw a few shows at this year's Fringe (including four on Wednesday alone, which isn't even competitive compared to what hardcore Fringe goers can do) and lived to tell the tale in the NYT. Click here for the lowdown.

Tuesday, August 16, 2016

Quiet, Comfort

Alec Duffy and the Hoi Polloi company gave Toshiki Okada's Quiet, Comfort a gem of a production at Jack. My review for the NYT is here.

Friday, August 12, 2016

Karen Finley's Unicorn Gratitude Mystery

By golly, Karen Finley still has it! My review of her new triptych, at the Laurie Beechman every Sunday, is here.

Tuesday, August 09, 2016

Alice in Black and White

Staten Island's homegrown hero, the pioneering photojournalist Alice Austen, gets an affectionate biographical play, Alice in Black and White. My NYT review is here.

Troilus and Cressida

Troilus and Cressida is described as a problem play. It looks like someone solved it. My NYT review of this Shakespeare in the Park production is here.

Tuesday, August 02, 2016

Roundup of three shows from the New York Musical Festival

I checked out NYMF's Nickel Mines, The Last Word and Tink! Read on to know which one was fabulous and which ones, not so much.

Monday, August 01, 2016

Summer Shorts, Series A

Summer wouldn't be summer without this anthology of one-act plays. And Summer Shorts wouldn't be Summer Shorts without a piece by Neil LaBute. My review is here.

The Iron Heel

I traveled to Fort Greene's South Oxford Space (which is awesome, by the way) for The Iron Heel, a stage adaptation of a fairly obscure Jack London novel. Click here for the review.

Thursday, July 21, 2016

Le Bourgeois Gentilhomme

It was a pleasure to catch Denis Podalydès' staging of Le Bourgeois Gentilhomme at Lincoln Center Festival. Here's my review for The New York Times.

Fun fact: Podalydès' old pal Emmanuel Bourdieu is listed for "artistic collaboration," whatever that is. His father was famed sociologist Pierre Bourdieu, who came up with (among many others things) the concept of cultural capital — which of course is was the play is partly about.