American Buffalo Written by Eugene O’Neill Directed by Ciarán O’Reilly Irish Repertory Theatre April 1, 2022 Production website 💉💉💉💉 out of 5.
It is always magical to see a David Mamet play done well. It is great to see the very specific, graphic and course language of David Mamet be delivered as street poetry and not just a string of expletives. The ugliness of the language takes on a certain beauty in gifted hands – and these hands were gifted! Laurence Fishburne as Donny and Sam Rockwell as Teach were perfect in their roles. They played a mad, intense game of tennis batting their lines and intent back and forth in perfect form. I had a little trouble with Darren Criss as Bobby – perhaps because he is so indelibly connected to this role in Glee – or perhaps it was just the character of Bobby. He just looked like he was in another play.
Take Me Out Written by Richard Greenberg Directed by Scott Ellis Helen Hayes Theatre/2NDSTAGE March 30, 2022 Production website 💉💉💉💉 out of 5.
This play had everything going for it! I had seen the original cast 20 earlier but the play remained as relevant – if not more relevant today. The play has a nice organized plot with sharp character conflicts leading to a very satisfying climax. This play also had a highly complex masculinity. In fact, the play became a bit of a textbook on on being a man as it explored a most masculine, successful baseball player owning his homosexuality and seeing how it played through the various dynamics of his teammates and the sacred locker room.
A Touch of the Poet Written by Eugene O’Neill Directed by Ciarán O’Reilly Irish Repertory Theatre March 26, 2022 Production website 💉💉💉💉 out of 5.
Irish Repertory Theatre is one of my favorite theatres in NYC. The space is so small and in-your-face. No other theatre in the City puts you right on stage with the performers like the Irish Rep. Irish literature also is a favorite of mine. No other plays seem to have as much humanity – so much fighting, suffering and passion as the Irish plays.
Touch of the Poet started out very predictably for me. Two Irish bar goes were sitting around a bottle of whiskey providing us with the exposition needed for the night, and yes, one had an obviously makeup/manufactured scar and the other a bit too forced of a brogue. I was willing to accept these small bumps and settled down into one of Eugene O’Neill’s classics – only performed professionally after O’Neill died. I thought I had this play figured out. BUT THEN,
Kimberly Akimbo Book & Lyrics by David Lindsay-Abaire Music by Jeanine Tesori Based on the play by David Lindsay-Abaiore Choreographed by Danny Mefford Directed by Jessica Stone Atlantic Theatre Company December 30, 2021 Production website 💉💉💉💉 out of 5.
Kimberly Akimbo is a truly magnificent musical. It is true, honest, sincere and in no way pretentious. The story involves a teenage girl suffering from Progeria, a rare genetic disease that causes the patient to age very quickly and often results in death around the age of 16. The girl in this play, Kimberly, played by master performer Victoria Clark, is played by a 60+ year old woman. Essentially we have the soul of a teenage girl being played by a much older actress. Kimberly Akimbo is one of the most beautiful examples of theatrical irony then have seen in many years.
Trouble in Mind Written by Alice Childress and Michael Aegean Directed by Charles Randolph-Wright Roundabout Theatre Company at American Airlines Theatre December 29, 2021 Production website 💉💉💉💉 out of 5.
The last three post-Covid trips that I have taken to New York have all been about bringing visibility to black artists, stories, and history. There has truly been a renaissance in black literature on stage and new actors/new faces are popping up all over Broadway. It is so great to be part of this excitement. But of all the stories about the Black experience none is more effective than Trouble in Mind – – and that is quite a feat for a play that was first optioned and later rejected for Broadway in 1955. Back in 1955, the play was well received Off Broadway but was stopped on its path to Broadway because white producers wanted the script to be “toned down”. The playwright, Alice Childress, refused to make the change. But today we see the full unedited production straight from the playwright’s pen.
