March 13, 1998 |
Worn red bricks, wire mesh, the dust of indifference and the grit of common cruelty are the foundations of a London housing project in the powerful "The Neighbour" at 24th Street Theatre. The Tuesday Laboratory's presentation of Meredith Oakes' drama has a hard-edged elegance as it explores the horrors of unneighborly neighbors. "When someone finds fault with me, it interrupts my inner life," James (Miles Eastman) opines--and his inner life is constantly interrupted.
February 13, 1998 |
The return engagement of "Cyberqueer" at the Celebration is frothier and far funnier than the original 1996 production. When lovelorn linguistics professor Nelson (Brian Quinn) decides to go online looking for action, he winds up in a gay and lesbian chat room presided over by the formidable Wicca (flamboyantly campy Jennifer Taub), a latter-day goddess who rules the ether of cyberspace with all the finesse of a New Age Nazi.
March 12, 1993 |
"It's slippery sliding down the Blue Corridor," says a Mimi Seton lyric in her new musical-theater piece at Playwrights' Arena. Conceived and directed by Mark Bringelson, with words and music by Seton, "Blue Corridor" leads to doorways behind which live very ordinary people with extraordinary outlooks on life. That's the stock in trade of Bringelson and Seton, who were among the collaborators on the memorable "Brain Hotel" and "Wazo Wazo" in the '80s.
April 30, 1999 |
Larry Fineberg's postmillennial drama "The Clairvoyant" at Playwrights' Arena attempts to fuse futuristic techno-paranoia and the lush, familiar strains of melodrama, with largely disastrous results. Imagine a sci-fi "Now Voyager" and you'll get the idea. The action is set in a "large coastal city" in the year 2038. The world economy has collapsed, climatological changes have ravaged the environment, and the oceans have been reduced to carcinogenic cesspools.
October 7, 2005 |
In "Bunbury," playwright Tom Jacobson fashions a character for Oscar Wilde's unseen plot device from "The Importance of Being Earnest" and sends him into giddy collision with various coevals from classic plays. Merely that aspect of this ingenious fantasia -- "A serious play for trivial people" -- will seduce theater buffs. Bathed in designer Henry Sume's moony lighting, Bunbury (Sean Wing) begins as lily-wielding Wildean pastiche. Trading epigrams with valet Hartley (Scot M.
July 2, 1999 |
Everyone gets a chance to chomp the scenery in "Who's Afraid of Edward Albee?" Michael Kearns' original drama at Glaxa professes to examine the gay subtexts in "Who's Afraid of Virginia Woolf?" However, somewhere along its careening route, the play veers, intentionally or not, into parody. Whatever Kearns' dramatic intent, this sprawling exercise in excess is consistently fascinating, as watchable as a train wreck and as feverishly histrionic as a Joan Crawford film festival.