Ryan Rumery

Off-Broadway Review: “Be More Chill” at The Irene Diamond Stage at The Pershing Square Signature Center

It is difficult to separate “Be More Chill,” currently running The Irene Diamond Stage at The Pershing Square Signature Center, from the hype surrounding what has become a teenage cult musical since its 2015 run at the Two River Theater in Red Bank, New Jersey. This hype has been heightened by a cast recording and an extensive marketing campaign. What…

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Off-Broadway Review: “The Saintliness of Margery Kempe” at The Duke on 42nd Street

Margery Kempe was an English Christian Mystic during the 14th and 15th centuries who was tried for heresy multiple times but never convicted. During the late Middle Ages, the task of interpreting the Bible and God was restricted to ordained priests but interpretation through the senses and body became the dominion of woman mystics. Kempe’s autobiography is the first written…

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Off-Broadway Review: “Woman and Scarecrow” Challenges the Living at Irish Repertory Theatre’s W. Scott McLucas Stage

“[One] not busy being born is busy dying.” – Bob Dylan, “It’s Alright, Ma (I’m Only Bleeding)” It is one thing to have an imaginary friend, created to be summoned at will for conversation, company, and surcease from sorrow. It is quite another thing to have an alter ego, perhaps once created, but able to appear at its will and…

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Off-Broadway Review: “The Seafarer” at Irish Repertory Theatre

The latest offering of the Irish Repertory Theatre is the revival of “The Seafearer” by Conor McPherson, which opened on Broadway in 2007 and was nominated for a TONY award for best play that season. It follows the renowned style of the playwright, producing incredible natural dialogue, executed in somewhat ordinary life situations, with a collection of disreputable characters, and…

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Off-Broadway Review: “Admissions” Dissects Belief Systems at Lincoln Center’s Mitzi E. Newhouse Theater

When a speaker raises alternate views of a significant problem and seems at one point to take “one side” and then “the other side,” and then advocates for the purity of moral ambiguity – presenting profound rhetorical arguments for each of those points of view – the audience is left bombarded by what seems like conflicting ethos, pathos, and logos…

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Off-Broadway Review: “Curvy Widow” at the Westside Theatre

After Bobby’s (Nancy Opel) writer husband Jim (Ken Land) collapses dead on top of his typewriter, she begins to deal with her loss facing “half a life” and realizing Jim has been “all [she’s] ever known.” No longer “in control,” Bobby begins to ask important questions: “Is it time to make choices yet? Start again at my age?” Or is…

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Off-Broadway Review: “The End of Longing” at MCC Theater at the Lucille Lortel Theatre

  “The End of Longing,” now playing and extended by popular demand at the Lucille Lortel Theatre, is yet another example of the evermore trending evidence that the use of star power will attract an audience regardless of the merit of the vehicle. In this case it is Matthew Perry starring in his less than interesting playwriting debut, which only…

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Off-Broadway Review: “The Emperor Jones” at Irish Repertory Theatre

“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…

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