Bloomsday
Next Act Theater

There’s nothing more compelling – or painful – to watch than an unrequited romance. Most of us can recall “the one who got away,” and perhaps even keeps you wondering, “what if?” In Bloomsday, by Steven Dietz, one of these romances plays out in a charming and touching way.

Anne Siegel
Beyond Caring
Water Works

If you think scrubbing out your own bathroom and kitchen is a chore, imagine applying your janitoral skills to the residue of a meat-processing plant. Would you rather be paid less than $50 a day for picking up spilled ramen noodles from the floor of the staff break-room with bare hands, or for swabbing disinfectant on bloody machines littered with scraps of raw animal flesh?

Mary Shen Barnidge
Mother of Smoke
Pride Arts Broadway

When confronted with a multiplicity of sensory stimuli, human beings tend to perceive motion first, then sound and, after that, sight. Further down the list comes verbal recognition and later, literary comprehension. Since most of this "collage" created by the Red Tape and Walkabout Theater companies presents these elements to its audience simultaneously, playgoers are advised to consult their syllabus, uh, playbill notes before the performance of Mother of Smoke commences.

Mary Shen Barnidge
Rich Girl
Florida Studio Theater - Gompertz Theater

Henry James started all this with his short novel, “Washington Square.” Ruth and Augustus Goetz make it into a hit play, The Heiress, which was made into a hit movie. It’s back onstage, updated a century, with a similar heroine, a Rich Girl who’s very inhibited and not very attractive. This time it’s her mother (not father) who’s cowed her. Except for the mother’s well made-up looks, she’s not attractive either. Neither is Victoria Stewart’s overlong and under-absorbing melodrama.

Marie J. Kilker
Elaborate Entrance of Chad Deity, The
Florida State University Center for the Performing Arts - Cook Theater

No ordinary production, The Elaborate Entrance of Chad Deity takes place in an arena surrounded by audience. They’re in turn surrounded by giant moving projections of what happens on center stage, a metaphoric boxing ring that, also in turn, becomes an actual one. With lights flashing and rap and hip-hop blaring throughout actors’ and audience spaces, the show offers a central monologue together with environmental and interactive theater. To what purpose?

Marie J. Kilker
Tao Marayao
La MaMa ETC

Tao Marayao (The Good Person) is a dance/movement piece about the Samal Balangingi, a maritime tribe from an island in the Southern Philippines. It’s part myth, part cultural history, presented through traditional Samal dance and narrative movement. Its story concerns the Spanish Conquest, from the arrival of the conquistadors to a sort of Samal diaspora in America.

Steve Capra
Dreamgirls
Hobby Center

When I first saw the musical, Dreamgirls, back in 1982, the Broadway blockbuster was at the beginning of what would become a four-year run on The Great White Way. With the often-thrilling music of Henry Krieger, complemented by Tom Eyen’s story-telling skill for the book & lyrics, all that was needed was a stellar group of fine actors with powerful voices. That latter requirement was nicely filled with a talented original cast headed up by legendary vocal powerhouse, Jennifer Holliday.

David Dow Bentley
Sweat
Studio 54 Theater

Painfully in-the-moment, playwright Lynn Nottage's new play, Sweat, at Studio 54, takes a sharp scalpel to a working-class town in Berk County, Pennsylvania during the slippery slope of their American Dream and job security. With authority and a solid nine-person ensemble, Nottage finely crafts the disintegration of opportunities, friendships, and families swept up in whirlpools of disappointment and a cycle of drugs, violence and poverty.

Elizabeth Ahlfors
Price, The
American Airlines Theater

Decisions, dissembling, consequences and family — this is the meat in Arthur Miller plays. Directed by Terry Kinney, the Roundabout production of The Price has a universality as distinct in the 21st century as it was in 1968 and features a stunning cast of Mark Ruffalo, Tony Shalhoub, Jessica Hecht, and Danny DeVito.

Elizabeth Ahlfors
Elevator
The Coast Playhouse

Everybody’s nightmare — being trapped in an elevator with a bunch of strangers — comes true in Michael Leoni’s hilarious play, Elevator, which has returned to L.A. after successful productions elsewhere in the USA.

Willard Manus
Significant Other
Booth Theater

Every now and then an actor appears onstage, and you immediately know he’s got it all- talent, looks, presence. Gideon Glick is the whole package. As Jordan Berman, he takes what could be a cloying, rather annoying almost-30-year-old, and makes him sympathetic and real, with an Eddie Redmayne quality. Jordan, a gay man, is lamenting the fact that all his best friends are getting married, one by one. They’re all women finding the men with whom they want to spend their lives, and Jordan’s one real crush is not available or interested.

Michall Jeffers
Profane, The
Playwrights Horizons - Peter Jay Sharp Theater

On the one hand, this is a play about the question of who is, or isn’t American, and equally who is, or isn’t Muslim. On the other, it’s about the worst Thanksgiving ever, and the ordeal of meeting the in laws for the first time.

Michall Jeffers
Circle Mirror Transformation
Alchemist Theater

Years before playwright Annie Baker won the Pulitzer Prize for her play, The Flick, she wrote Circle Mirror Transformation. In it, a group of adults (and one teenager) come together for a six-week community acting class. The leader expresses her enthusiasm about persuading the non-profit organization (where her husband works) to fund this class. Her husband, James (Joe Krapf) has signed on as one of the students. The play’s title, Circle Mirror Transformation, gives a hint regarding what the would-be actors discover about themselves.

Anne Siegel
Encounter, The
Wallis - Bram Goldsmith Theater

This is the second time I’ve seen Simon McBurney’s The Encounter,> his epic solo play about a man fighting for survival in Brazil’s Amazon rainforest. My first exposure was three years ago at the Edinburgh International Festival. Now writer/director/performer McBurney has brought his immersive, high-tech production to The Wallis in a West Coast premiere.

Willard Manus
Vanity Fair
Pearl Theater

William Thackeray wrote “Vanity Fair” as a monthly serial between 1847 and 1848. It was well received and set the foundation for later novels to come, in the Victorian era. Its story, set during the Napoleonic Wars, centers around two young women, friends, Becky Sharp and Amelia Sedley. We meet them as they leave Miss Pinkerton’s Academy and follow them as their and their husbands’ fortunes rise and fall.

Thackeray’s moral points are clear throughout. His concerns are with money and status, and their corruption of society and our personal relations.

Steve Capra
Amelie
Walter Kerr Theater

This fanciful tale of a young woman and her private, inner life begins in style; a blue curtain features butterflies which seem to flutter into the audience. Amelie Poulain is a creative child born to parents who are not familiar with the concept of unconditional love. They decide early on that their daughter is fragile, and must be schooled at home.

Michall Jeffers
Play That Goes Wrong, The
Lyceum Theater

Far be it for me to incite anyone to imbibe before going to the theater, but I must say that having a couple of drinks before covering The Play That Goes Wrong may well have enhanced my enjoyment of this zany farce. This Olivier Award winner for best comedy is not for the starched-collar set; think Three Stooges rather than Noel Coward.

Michall Jeffers
Born Ready
Factory Theater

“All About Eve” and “Sunset Boulevard” are as celebrated for their manneristic melodrama as for their iconic status in the annals of Hollywood cinema. Born Ready, Factory Theater playwright Stacie Barra's wry parody of the two seminal films reaches beyond simple ridicule, however, instead reflecting a genre not only enjoyable in its own right, but departing from traditional ageist bias to grant the final victory to the proven survivor.

Mary Shen Barnidge
Born Yesterday
The Greenhouse

Since its premiere in 1946, Garson Kanin's satirical comedy, Born Yesterday, has been largely reduced to a retread of the Pygmalion myth, in which learned men endeavor to educate ignorant women, only to meet with unanticipated results. With present events precipitating renewed interest in cultural divisions refuting our society's claim to interclass fluidity, however, the ramifications of this deceptively frivolous North-American classic take the foreground.

Mary Shen Barnidge
Greater Tuna
Crighton Theater

Many years ago in New York I reviewed the opening night of a new musical titled, “The Devil of Delancey Street. I opened my report with these lines:
”Richard Nixon famously remarked, `I am not a crook!’ Let me paraphrase that and say, `I am not a crank!’ I don’t go to the theater looking for trouble, but like all critics, I do occasionally find it.’”

David Dow Bentley
Cinderella
Marcus Center for the Performing Arts

The bling and glamour of the Cinderella tour was met with cheers, oohs and ahhs, mainly by the youngsters who attended the opening of this fabled fairy-tale musical. No wonder: This version, which was adapted for Broadway in 2013, started out as a modernized version of a made-for-TV musical. Those of us who recall the original cast – with the lovely Leslie Ann Warren as Cinderella – may be shocked to imagine that this TV event debuted a half-century ago.

Anne Siegel
BO-NITA
Urbanite Theater

In a monologue delivered with much activity, a 13-year-old girl dramatizes an outstanding, murderous day in her life and a journey to get rid of a body. It happens in a confusingly described St. Louis, MO areas but involves flashbacks in time and space (including a country scene). It may even delve into the girl’s future place, along with that of her sex-addicted mother and various men to which she is or has been attached.

Marie J. KIlker
Gun, The
Ruskin Group Theater

In Justin Yoffe’s quirky but provocative new play, The Gun, now in a world premiere at the Ruskin, Steve (Josh Drennen) comes across a homeless guy (Hamilton Matthews) in an alley. During the confrontation scene that follows, Steve discovers a pistol in a nearby pile of garbage. Surprisingly, the homeless guy not only denies ownership of the weapon but declines to take it from Steve, asserting in clairvoyant fashion that “you need it more than I do” (or words to that effect).

Willard Manus
Mamma Mia!
Westchester Broadway Theater

There’s a good reason Mamma Mia! ran for 14 years on Broadway; it’s just plain fun. Who wouldn’t want to be on a scenic Greek Isle, preparing for a wedding celebration?

Michall Jeffers
Destiny of Desire
Goodman Theater

Karen Zacarias's homage to the world of telenovelas delivers more fun than anyone has a right to expect from the Latinx author of solemn feminist dramas. Audience members not yet counted among the genre's two billion devotees, but who have encountered the fiction of William Shakespeare, Charles Dickens, the Bronte sisters, Georgette Heyer, and John Fowler will have no problem acclimating to the intricate narrative arc of this internationally popular entertainment.

Mary Shen Barnidge
Scullery Maid, The
The Edge

No one disputes the practicality of eliminating options as a means of expediting decisions — the fewer possibilities, the easier the choice, right? That's not how our big sloppy world works, however, and therein lies the lesson illustrated in Joseph Zettelmaier's speculations on a fragment of historical minutiae.

The aforementioned fragment recounts how a Jewish servant of King Edward III was tortured and subsequently executed by Italian partisans after being forced to make a false confession of attempted murder and terrorism.

Mary Shen Barnidge
Evening with Groucho, An
Milwaukee Repertory Theater - Stackner Cabaret

Although it has been 80 years since the heyday of Groucho Marx and his team of comical brothers, there aren’t many among us who are unaware of this master comedian. Actor Frank Ferrante proves this in his one-man tribute, An Evening with Groucho, which opened a two-month run at the Milwaukee Repertory Theater’s Stackner Cabaret. The intimate space, dotted with tables that seat from two to eight, offers the perfect invitation to sit back, relax, have a drink, and get ready to belly-laugh ‘til it hurts.

Anne Siegel
Price, The
American Airlines Theater

Families: Can’t live with ‘em, can’t kill ‘em. No one is a greater chronicler of this phenomenon than Arthur Miller. Conflict is drama, and oh boy, is The Price ever dramatic. It’s also very long and very talky. Fortunately, this Broadway production features superb acting and directing. The last half hour or so is extremely repetitious; what keeps it moving is the uncomfortable realization that this is how siblings do argue with each other. There’s always plenty of blame and guilt to go around, more than enough deflection, and on the stage, one surprise revelation after another.

Michall Jeffers
Grounded
Florida Studio Theater - Bowne Lab

Grounded takes a female ace pilot on a flight to a change of career and thus, at the core of her very being, to unexpected and supremely difficult family, moral, and mental positions. As a monologue, the drama requires a tour de force performance. Rachel Moulton delivers it.

Marie J. Kilker
Boynton Beach Club
Manatee Players PAC - Mainstage

Retirees are seldom the subject of drama, so it was refreshing a few years ago to have a film devoted to their lives in a gated Florida community. On stage, though, all that’s new is that their world is musical and, if anything, the music and lyrics chosen to convey Boynton Beach Club’s world and its inhabitants don’t defy the stereotypical but rather swim in it.

Marie J. Kilker
Phantom Pain
The Greenhouse

Barbara Lhota's fondness for procedurals is no secret to playgoers familiar with the canon of this prolific playwright. Although employed most often in crime stories, this literary construct may be applied to any plot proposing a riddle at the outset and then gradually disclosing — in infinitesimal increments, and not necessarily in chronological order — the information necessary to connect the dots until the complete picture is revealed.

Mary Shen Barnidge
Wiz, The
Theater Wit

If the brothers and sisters of Huckleberry Finn, Peer Gynt, Alice Liddell, or Ebenezer Scrooge were not to be found in every culture the world over, their stories would have faded from memory with their generation, rather than endure to achieve the status of a "classic." L. Frank Baum's tale of a farm girl in 1900 learning life lessons on an odyssey through a magical land should have easily adapted itself to Charlie Smalls and William F.

Mary Shen Barnidge
Twenty Four Words
Stage 773

In an interview, Charles Kouri, book writer and lyricist for this history lesson framed in a musical revue, expressed concern over the number of young people who approach gender issues as if the Equal Rights Amendment introduced to Congress in 1972 hadn't failed to pass into law.

Mary Shen Barnidge
Source, The
The Den

Vernon Jenkins is a newspaper correspondent, and Oona Del Negro is a documentary filmmaker. He is armed with a laptop and all the latest apps; she packs old-school analog photography equipment. We are never told the location of this "large foreign city" where they have arrived, though their wardrobe hints at a warm climate. Neither of them knew that they would be sharing a single hotel room (boasting fridge, coffee-maker and minibar) registered under married-couple aliases, where they wait for an informant claiming to possess government secrets of interest to U.S security.

Mary Shen Barnidge
Night and Dreams
Walt Disney Concert Hall

Thanks to the vision and daring of director Yuval Sharon, those in the audience of Night and Dreams at Disney Hall recently were privileged to be in on the birth of a new theatrical art form. Sharon, head of the avant-garde opera company, The Industry, and an artist-collaborator for the Los Angeles Philharmonic, mounted six short plays by Samuel Beckett into whose text was woven Franz Schubert’s words and music. The result was a night of remarkable theatricality and originality — a miracle, really.

Willard Manus
Last Days of Judas Iscariot, The
La MaMa - Ellen Stewart Theater

Courtroom dramas can’t be expected to have much plot. In plot, each piece of action leads to the next. In a courtroom, witnesses are called in a series without dramatic cause. And so we can’t expect Stephen Adly Guirgis’s play The Last Days of Judas Iscariot to have any sort of through line. It’s a courtroom drama, presented by La MaMa, in which Judas Iscariot is on trial. It’s not really about his last days. In fact, he isn’t on stage very much.

Steve Capra
Significant Other
Booth Theater

It's not fun watching your best friends find their life partners and dance their special wedding song, leaving you standing alone clutching a soggy hanky in your fist. It's not fun to be the only one who has not found a significant other, desperate you never will. Yet in the hands of playwright Joshua Harmon (Bad Jews), the Broadway production of Significant Other has fiercely funny moments. Well, funny in a bittersweet but truthful way.

Elizabeth Ahlfors
Little Foxes, The
Asolo Repertory - Mertz Theater

The Little Foxes could almost be a template for a realistic three-act melodrama, yet in this era of nontraditional structures, Lillian Hellman’s 1939 play laid in 1900 Alabama still works. Its anti-heroine, strong like women now more often onstage, is as grasping as her wealthy town-controlling brothers. Like a famous contemporary Wall Street film hero, this family acts on the premise that greed is good . . . for themselves. They want to make their fortunes great again and again and again in their family future. Men first, of course. That’s what grates on their sister Regina.

Marie J. Kilker
Light Year, The
Playwrights Horizons

Once again, Playwrights Horizons has given us a play that’s thought provoking. The Light Years demands our full attention; fact is mixed in with fiction, and the time frame swings back and forth. Let your mind drift, and you may get lost. Before the curtain even goes up — and there is a gorgeous deep red curtain — we hear yips and cries of men being shocked as they attempt to bring the new marvel of electricity to the Chicago World’s Fair in 1893.

Michall Jeffers
Still Life
Met Theater

Death does not take a holiday in Still Life, Alexander Dinelaris’s play at Rogue Machine. On the contrary, death crops up everywhere in the play, beginning with the portraits of dead chickens shot by lead character, Carrie Ann (Laurie Okin), a photographer we are asked to believe makes profound statements with her work. Carrie Ann also references mortality in the speech she gives at the gallery opening of her exhibition, which concludes with these banal words, “We’re all going to die.”

Willard Manus

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