VIEWPOINTS – The stimulating, often trailblazing COIL, in its 13th iteration, closes shop

2018 marks the 13th and, sadly, final iteration of the Coil Festival. Over the years, Coil has provided stimulating, often trailblazing, performances across theater, dance, performance art, everything in between, and sometimes … Continue Reading →

THE HANGOVER REPORT – Ngozi Anyanwu’s uneven THE HOMECOMING QUEEN treats tough issues with inventiveness and understanding

This weekend, I caught Ngozi Anyanwu’s new play The Homecoming Queen courtesy of Atlantic Theater Company. The play tells the story of Kelechi, a best-selling novelist who goes back to Nigeria after living 15 years in America to … Continue Reading →

THE HANGOVER REPORT – BALLS at 59E59 bounces vigorously, but perhaps a little aimlessly

Tonight, I caught One Year Lease Theater Company and Stages Repertory Theatre’s production of Balls at Off-Broadway’s 59E59 Theater. The play, written by Kevin Armento and Bryony Lavery, is very much an … Continue Reading →

THE HANGOVER REPORT – Jerry Garcia and Robert Hunter’s RED ROSES, GREEN GOLD is both exuberant and grating

Last night, I caught Jerry Garcia and Robert Hunter’s Red Roses, Green Gold – or as I like telling people, the Grateful Dead jukebox musical – at Off-Broadway’s classic Minetta Lane Theatre. I find reviewing this … Continue Reading →

THE HANGOVER REPORT – Dael Orlandersmith’s affecting docudrama UNTIL THE FLOOD asks us to empathize, firstly

This past weekend, I caught Dael Orlandersmith’s one-woman Off-Broadway play Until the Flood at Rattlestick Playwrights Theater. Commissioned by St. Louis Repertory, Ms. Orlandersmith’s docudrama depicts a series of interviewed St. Louis residents – black … Continue Reading →

THE HANGOVER REPORT – Robert O’Hara’s disappointing MANKIND is ambitious but poorly realized

This afternoon, I caught up with Robert O’Hara’s Mankind at Playwrights Horizons. I really wanted to like this new play. I had though Mr. O’Hara’s ferocious breakthrough play Bootycandy was bold, hilarious, and theatrically … Continue Reading →

VIEWPOINTS – 2018 AMERICAN REALNESS wraps up, and it was as defiant as ever

Today marks the final day of American Realness, the annual festival that celebrates and challenges performative norms, particularly in the sphere of contemporary dance and performance at large. This year’s … Continue Reading →

VIEWPOINTS – UNDER THE RADAR 2018: A Festival Recap, Part 1

So far during the consistently fascinating, wonderfully-curated Under the Radar Festival – the Public Theater’s annual January festival for experimental theater – I’ve caught six “mainstage” offerings, not including shows that make up the … Continue Reading →

VIEWPOINTS – Putting the “play” into the play: Fiasco’s TWELFTH NIGHT and Kate Hamill’s PRIDE AND PREJUDICE

These days in New York, you’ll find a number of smart, young theater artists taking on the classics with one thing on their minds: play. That is to say, having fun, … Continue Reading →

VIEWPOINTS – Enriching legitimate theater with classical music: FARINELLI AND THE KING and MARY SHELLEY’S FRANKENSTEIN

As a fan of live performance across genres (theater, dance, opera/classical music, cabaret, etc.), I’ve often wondered whey there hasn’t been more meaningful cross-pollination between these types of performances, apart … Continue Reading →