Off-Broadway

Off-Broadway Review: “Picnic and Come Back, Little Sheba: William Inge in Repertory” at Transport Group Theatre Company at the Gym at Judson

“Picnic and Come Back, Little Sheba: William Inge in Repertory” at Transport Group Theatre Company at the Gym at Judson leaves one longing for more William Inge and more Transport Group – perhaps a trifecta that includes the 1955 “Bus Stop.” Inge’s themes of deep angst, “small ambition,” the search for identity and purpose, lost (or abandoned) youth, choices and…

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Off-Broadway Review: “The View UpStairs” at the Lynn Redgrave Theater at Culture Project

“Forty years ago this place was a fabulously tacky gay bar with a life-sized cardboard cutout of nude Burt Reynolds hanging from the ceiling. It was a church. There was live music and dancing, hustlers, drag queens, even a mother who came with her son. It was a community of people who were funny, and brave, and full of life.”…

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Off-Broadway Review: Bated Breath Theatre Company’s “Beneath the Gavel” at 59E59 Theaters

When one visits an art museum and stands in front of a painting – let us say Jeff Koons’s “Woman in Tub” – one reacts in one of perhaps three ways: the visitor “likes, just likes it” and snaps a digital image and moves on to another contemporary artist; the visitor pauses for some time and examines the work, deciding…

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Off-Broadway Review: “Sundown, Yellow Moon” at the McGinn/Cazale (WP Theater)

At sundown, when objects lose their precise “black-and-white” identity, the yellow moon begins to assume the role of providing “light.” Moonlight is far more forgiving than sunlight – it is the light of all things Eastern, leaving the bright Western light to its own devices of conditional judgement. It is the salvific murkiness of the yellow moon that draws fraternal…

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Off-Broadway Review: “Chess Match No. 5” at Abingdon Theatre Company’s June Havoc Theatre

Now, we don’t want to say, “Where do we come in?” or, “Where do we go out?” Because we would like, I think not to leave, but to stay here, now that we’re here. – He There is nothing like watching theatre directed by SITI Company’s Anne Bogart. Her attention to detail is unparalleled and her signature staging that includes…

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Off-Broadway Review: “The Light Years” at Playwrights Horizons

“You are not simply an electrician, you are illuminating the world!” claims one of the six characters in “The Light Years,” a pleasant, but less than fulfilling concoction now playing at Playwrights Horizons. Produced by a company called the Debate Society – which recreates slices of Americana – it focuses on two Chicago world fairs, exactly forty years apart. It…

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Off-Broadway Review: “Dolphins and Sharks” at Labyrinth Theater Company at Bank Street Theater

When recently entering the Bank Street Theater for the production of “Dolphins and Sharks,” the new play by James Anthony Tyler produced by Labyrinth Theater Company, I felt as though I was at a theatrical site-specific location. This is all due to the remarkable use of the small space, impressive attention to detail and encompassing the up close audience with…

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Off-Broadway Review: “White Guy on the Bus” at 59E59 Theaters

What is clear about Bruce Graham’s “White Guy on the Bus” is that white privilege drives the engine of racism in America. In a compelling performance as successful financier Ray, Robert Cuccioli gives that protagonist rich layers of contempt for all things that might threaten his privileged status. Additionally, this contemptable character seems to have difficulty controlling an undercurrent of…

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Off-Broadway Review: “Skin of our Teeth” at Theatre for New Audience’s Polonsky Shakespeare Center

If ever there was an allegorical play, this is it.  Thornton Wilder’s “The Skin of Our Teeth” was written in 1942, won the Pulitzer Prize, had two apparently great productions on Broadway – starring the likes of Mary Martin, Tallulah Bankhead, Fredric March and Helen Hayes—then poorly received ones, and subsequently was deemed extremely difficult to pull off. Well, Theatre…

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Off-Broadway Review: “All the Fine Boys” at The New Group at the Pershing Square Signature Center’s Ford Foundation Studio Theatre

Under the ruse of “receiving consent” from a minor, pedophile Joe (played with a remorseless arrogance by Joe Tippett) plays out an erotic asphyxiation fantasy with fourteen-year-old Jenny (played with a delusional naiveté by Abigale Breslin) in the basement of his suburban South Carolina home after “abducting” her from her home earlier. It does not matter whether Jenny got into…

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