slave play
Bedlam is back, creating all the bedlam needed to lift “The Crucible” by Arthur Miller to a new level, making it one of the most exciting and poignant productions of this classic play to hit New York stages. The chaos begins when you enter the theater. You are seated in the waiting area on various wooden chairs that surround an…
“Slave Play,” currently running on Broadway at the Golden Theatre, reiterates the events on the fourth day of the Antebellum Sexual Performance Therapy being held at MacGregor Plantation, a few miles south of Richmond, Virginia. Three couples have signed up for the workshop to engage in the “radical therapy designed to help black partners re-engage intimately with white partners from…
Last season, two off-Broadway plays – “Daddy” and “Slave Play” (both by Jeremy O. Harris) – highlighted significant issues about the self-identity of young black gay and queer men and raised rich and enduring questions about the role of family, friends, culture, and “indifferent yet fetishizing white gays” in that process of discovery. This season, Michael R. Jackson’s original musical…
Beartrice Albans (a resolute and Machiavellian Lynda Gravátt) spent her life under the oppressive laws that governed people of color in the colony of Louisiana. Specifically, she was Lazare’s placée a status that allows her as a woman of color to set up common law households with a white man to circumvent legal prohibitions. Beartrice’s mother signed the papers that…
Due to popular demand, Manhattan Theatre Club (Lynne Meadow, Artistic Director and Barry Grove, Executive Producer) is pleased to announce one additional week of performances for the world premiere of of Sugar in Our Wounds, a new play by Donja R. Love, directed by Saheem Ali (Twelfth Night for the Public Theater’s Mobile Unit), at The Studio at Stage II –…
Eve Ensler’s commitment to ending violence against cisgender, transgender, and gender non-conforming women and girls globally (V-Day: A Global Movement to End Violence Against Women) has been unwavering since “The Vagina Monologues” premiered at HERE in 1996. Ms. Ensler attempts to continue that commitment in “Fruit Trilogy,” Abingdon Theatre Company’s final mainstage production of its twenty-fifth anniversary season. Currently in…
Traffic flows continuously around the “island” which is the roundabout better known as the Drawing Room of Lord Kettlewell’s (Brian Protheroe) British country estate. Things are not going well for the financier who has summoned his Etonian secretary Farrington Gurney (Charlie Field) to a rare Saturday business meeting to attempt to stop his Lordship’s substantial business losses. Nor are things…
“Ain’t a man’s talkin’ big what makes him big-long as he makes folks believe it? [Sure], I talks large when I ain’t got nothin’ to back it up, but I ain’t talkin’ wild just [the] same. I knows I kin fool ’em—I knows it—and [that’s] backin’ enough [for] my game.” – Brutus Jones It is not easy to watch Eugene…
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…
“Yesterday today next summer tomorrow just uh moment uhgoh in 1317 dieded thuh last black man in thuh whole entire world. Uh! Oh. Dont be uhlarmed. Do not be afeared. It was painless. Uh painless passin. He falls twenty-three floors to his death. 23 floors from uh passin ship from space tuh splat on thuh pavement. He have uh head…