Clyde’s Written by Lynn Nottage Directed by Kate Whoriskey 2nd Stage at Helen Hayes Theatre December 28, 2021 Production website 💉💉💉 out of 5.
As the play began, I knew I was not going to like this play at all, but, as I left the theatre, I began to like it more and more. I believe the reason I got such a negative start had to deal with my seats. I was lucky/unlucky to score seats in the center section right in the second row. I had a clear view of the stage and all was good – – until the lights went down. From the very first moment all things on stage were SO loud and SO overplayed and SO working more to get an audience to laugh rather than settling down and trying to bring us into the world of the play. A perfect example is the character of Letitia twerking away for sake of the audience before we even know what/who she is in the play.
Chicken and Biscuits Written by Douglas Lyons Directed by Zhailon Livingston Circle in the Square October 16, 2021 Production website 💉💉 out of 5.
I love a good silly comedy but I just didn’t love this play. Ala a Tyler Perry movie, there is a funeral of the family patriarch and everyone is drawn home for the service. This, of course, sets out an avalanche of family dysfunctions and dancing skeletons in the closet. Sounds familiar doesn’t it? It was all so forced and so predictable. The acting was so big and so forced that they missed many moments that could have used some subtlety. Michael Uhrie as the token white guy in the play was truly hilarours. His timing was perfect and he could make the most out of the smallest of moments. He was almost worth the price of admission. The rest of the cast seemed to depend on attitudes in place of character development and stereotypes at the cost of originality. I do have a problem with stage plays that would have made a better TV show. I am not sure what Chicken and Biscuits had that demanded live theatre.
Dana H Written by Lucas Hnayh Directed by Les Waters Lyceum Theatre October 15, 2021 Production website 💉💉💉💉💉 out of 5.
This play took me on an amazing journey. On its surface, it is a true-life experience of a woman from Florida who works as a chaplain for a hospice. One day she is asked to tend to a prisoner who has tried multiple times to kill himself. As she visits him, she is drawn into his web of charm and threats – – so much so that he is soon able to abduct her and take her on the road with him traveling throughout Florida and neighboring states on a rampage of killings, bombings and fights. And, as member of the Arian Nation there is no shortage of evil to be done. Throughout the story the audience asks how is this man able to keep the woman from escaping. She tries but is often denied protection from police.
Caroline, or Change Book and Lyrics by Tony Kushner Music by Jeanine Tesori Choreographed by Ann Yee Directed by Michael Longhurst Roundabout Theatre Company Studios 54 October 13, 2021 Production website 💉💉💉💉 out of 5.
Admittedly, I am not trained or pretend to be a qualified musical theatre practitioner but I do love the art form. I write this as an audience member totally mystified at the art of musicals. The first thing I noticed was how this musical spoke for this very unique time in Broadway history when almost every venue was working on plays exploring Black Americans and struggles they face every day. The statue of the Confederate soldier that holds fort in the center of the stage and the center of the story of Caroline or Change became the perfect lightning rod for this “change” in how post-COVID theatre is being practiced. Artists are certainly exploring change in all arenas.
Pass Over Written by Antoinette Chinonye Nwandu Directed by Dana Taymor August Wilson Theatre October 10, 2021 Production website 💉💉💉💉💉 out of 5
This play was perfection. There was not a single word or gesture that was extraneous. Visually the play made sense on the bare stage to a stage full of smoke and affects. Very seldom have been so moved by a play.
In many ways Pass Over uses the play, Waiting for Godot and applies this story and its absurdist rules to an urban black culture. Gogo and Didi have been replaced with Moses and Kitch. The bare stage with a single tree has been replaced with a concrete median with a single imposing streetlight. Even the classic bowler hats of the hobos Gogo and Didi are replaced by baseball caps that become treasured props to them. I could go on and on with the comparisons and revaluations made in seeing Godot through this new lense – it was brilliant.
