ZOOM – When we last left our antiheroes, Macbeth (Jesse Garlick) found his ambitions for the throne awoken by three, soothsayer witches (all played by Rebecca Lehrhoff in different registers and Instagram filters) and Lady Macbeth (Rachel Wiese) decided to do whatever was in her power to climb the hegemonic ladder and stomp on every person who got in their way as bloodily as possible. Betrayal has yet to visit ruin and mental anguish on their lives. Continue reading →
Presented by the Huntington Theatre Company Dream Boston: A New Series of Audio Plays The 54th in ’22 by Kirsten Greenidge McKim by Brenda Withers Overture by Kate Snodgrass By the Rude Bridge by Melinda Lopez
Online now for free on the Huntington Theatre website
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Critique by Noelani Kamelamela
STREAMING – I appreciate theatre makers using online platforms to present pre-recorded work or livestream theatrical content. In these times, when it is prudent for people not to be in theatres or congregating outdoors for a concert, the creation of work that can be digested at home or even on a lunch break is a political act beyond taking general responsibility for the health and welfare of a community by cancelling in person productions.
Dream Boston is easy to digest in four separate audio plays and can be listened to with an internet connection on someone’s phone for less than ten minute stretches. The playwrights and the directors for Dream Boston are women. Continue reading →
Produced by Irish Repertory Theatre
By Conor McPherson
Directed by Ciaran O’Reilly
Video Editor – Sarah Nichols
Sound Designer – M. Florian Staab
Assistant Director – Jeff Davolt
Production Assistant – Simon Geaney
YOUTUBE — Live theatre seems to be lingering in rebroadcast and livestream purgatory. On the one hand, this does increase accessibility in various directions, but on the other hand, quality varies. Irish Rep’s production of McPherson’s modern Irish classic The Weir is definitely on the higher end of the scale. Continue reading →
“What do you call an anti-vaxxer in the 1920’s? …Dead!” – Edith Shlivovitz
Trigger warning: screen kissing
YOUTUBE — Edith VS. Quarantine: 89 & One Tough Cookie opens on Edith Shlivovitz up to her elbows in household detritus for donation, ropes of pearls swinging around her neck, plastic-framed glasses matching perfectly her cheetah jumpsuit. Edith is a character: she won’t take any of your crap. She’s stir crazy and has no more fucks to give.
EVQ is what happens when a one-woman-show has reached peak performance. Edith, a widowed, Jewish, octogenarian housewife from New York who hasn’t left her apartment since March, is over the top archetype of old lady.
Miller’s character shoots through Zoom, past the door of your bedroom and into the street like porn on an iPhone at a family reunion. Edith is holding her tits, listening to “Memory” and quoting Deepak Chopra. As the late Joel Schumacher said of his movie disasters, “nobody pays to see under the top.”
EVQ is a an emotional journey. Folx who don’t enjoy a bit of the absurd with their raunch won’t get this show. Edith’s antics read like a peculiar Only Fans site for gawkers with very particular kinks. Edith references her dead husband Winston, chats with her taxidermied cat Clementine, and reenacts her favorite scenes from the thee-atre.
Edith treats you, her guest, to several photo montages. She pitches her app idea, quotes Anaïs Nin’s erotica, and segues to her reality TV show. That’s what I remember from before I blacked-out from the silliness.
Edith VS. Quarantine is not high art. It’s not everyone’s cup of tea, either. It is a character sketch that depicts one woman going as far as she can go because the rules no longer apply. These are unprecedented times, and Edith is no longer at the mercy of society’s rules. If that isn’t inspirational, I don’t know what is.
My sincere apologies to Miller re: review tardiness. The pandemic kills productivity like a mother.
Next performance of Edith VS. Quarantine: 89 & One Tough Cookie: Friday 7/24 at 7:30pm
FestivalPVD runs July 19 – August 1, 2020 Information about the 2020 festivalHERE FringePVD onFacebook
My sincere apologies to low re: review tardiness. The pandemic kills productivity like a mother.
ZOOM — Maximum Verbosity presents a holiday allegory to beat that tired one told every single Christmas. Get Thee Behind Me, Santa features cursing, sexuality, blasphemy and other microaggressions.
Get Thee Behind Me, Santa is an exceedingly fast-paced holiday allegory with an occasional rhyme scheme that pulls no punches. Jesus of Nazareth, Saint Nick, two angels with a greater appreciation for the physical form and a cast of other characters are determined to live in a better timeline, a timeline without a Santa cult.
It makes fun of the Da Vinci Code but it’s more similar to the popular 2003 mystery novel than it isn’t. GTBM,S jumbles together art, religion, science fiction, film noir, and other seemingly incongruent references into one tale. Therein lies the intended humor.
In humorous narratives of this ilk, the jumble of references is the point. Lists are par for the course. Except, GTBM,S is told at such breakneck speed that we aren’t able to absorb all of phillip andrew bennett low’s puns and scenes. They aren’t funny if we can’t savor them. The image of elves with super soakers is funny but, with low’s telling, blink and you’ll miss it. The same goes with many of the other clever bits concerning the Bible, popular soft drinks, and the Mayan civilization.
The funniest moments of GTBM,S are when low pauses after a character’s one-liner. Jesus said, “Howdy-do?” Low gave us time to react, so I did; I laughed.
Someone said (I couldn’t catch the character’s name), “I am amazed at how useless I find your vowels.” Low paused again; I laughed again.
I was able to respond in real-time to low’s work. It felt amazing. Audiences of artists want to respond to an artist. Please let us.
Theatre shouldn’t be a race to the finish… Unless it is. If the point of GTBM,S was to impress the audience with how quickly and how much low can spit a monologue, low succeeds. But, we couldn’t tell that this was his goal. He needs to indicate this to us.
Some of this can be excused by the medium of Zoom. A one-person show without an audience is torture for an artist. We create with the presumption that an audience will share the room when we perform. Without the audience, we fly by the seat of our pants. It’s anyone’s guess how things will turn out. We can only hope for the best.
Based on the GTBM,S trailer from the 2019 Minnesota Fringe, I’m going to make an educated guess that low’s speed is intentional. If low’s intent truly was to tell a convoluted story overflowing with references across modern and archaic world history while ripping Christianity a new one, he needs to slow down so the audience can receive the story.
Storytelling can be as alinear as the space time continuum but, if it’s for an audience, it also has to be available to that audience. Artists need to perform at the same speed that an audience listens. Anything else is masturbatory.
Next performance of Get Thee Behind Me, Santa: Friday 7/24 at 9:00pm
FestivalPVD runs July 19 – August 1, 2020 Information about the 2020 festival HERE FringePVD on Facebook
YOUTUBE — The Sparkhaven Theatre Company’s anticipated series Camp Strangewood opened last Sunday, July 19 at 8PM. It’s fans gathered on YouTube to watch the first installation, The Puritans. Similar to Sparkhaven’s previous endeavors, it was spoopy, silly and uncannily relatable. Continue reading →
Originally streamed on Wednesday, July 15 at 7 PM EDT
AATAB on Facebook
Featuring: Roxanne Y. Morse, Kendra Jain, Lisa Yuen, Vijaya Sundaram, Emily Kuroda
Critique by Kitty Drexel
ZOOM/HowlRound — The characters in Incredibly Annoying Women by Rosanna Yamagiwa Alfaro are unapologetic. These women take up space with their bodies and emotions like a cis man on the T at rush hour: legs sprawling to the left and right, arms resting on seat backs, backpack taking up a fourth seat. They aren’t inherently annoying but their unfounded entitlement is. Continue reading →
ZOOM/HOWLROUND — Let’s be clear: Waiting For Kim Lee is not a play; it’s a rant, forced into a dialogue. I hate it when people screech from the steps of a soapbox and call it art (David Mamet* comes to mind). I also hate the superficial media representation-discussion that seems to be the only thing Asian American artists ever talk about.
That was fine in 2016, but right now, we’re dying of COVID-19 at higher rates than the national average and getting hate-crimed for America’s pathetic epidemic response. We’re struggling to keep our businesses afloat, and protesting for our right to exist, and for Black lives. Complaining about parents and how many auditions you’re getting right now seem like outdated and out of touch problems.
It would be one thing if Waiting for Kim Lee had anything especially insightful or new to say about it, but this play just recycles the same few talking points that have already been rehashed by every Buzzfeed article for the last five years. Not only are they stale, but they are also narrow-minded and miss the point. Continue reading →
Presented by Company One Theatre Hosted by (and Featuring a Performance By) Neon Calypso
Poetry by Nico Pang
“Permission” Written by Kirsten Greenidge
Directed by Josh Glenn-Kayden
Performed by Tatiana Isabel Gil & Hayley Spivey
Technical Production by Mads Massey
YOUTUBE — Pride – and just about everything else – may have been canceled this year, but leave it to the queer community to rally anyway and keep the show going. “Pride Marches On” is a digital showcase of a few different art forms, featuring poetry from Nico Pang, a play by Kirsten Greenidge, and a drag performance from Neon Calypso, who doubles as host for the show. It’s a short, fun and politically engaging piece of media for anyone who needs a break from their Netflix binge (be honest, you’re probably getting into some obscure territory by now anyway). Continue reading →
Calderwood Pavilion at the BCA 10th Anniversary Ribbon Cutting: (L-R) BCA Chairman Philip W. Lovejoy, Huntington Trustees Gerald and Sherryl Cohen, Calderwood Charitable Foundation Trustee John Cornish, former Huntington chairman J. David Wimberly, (behind) Paul Grogan of The Boston Foundation, BCA Executive Director Veronique Le Melle, Huntington Chairman Carol G. Deane, (behind) former BRA member Harry Collings, former Boston Mayor Thomas M. Menino, Bank of America Massachusetts State President Robert Gallery, Huntington Artistic Director Peter DuBois, (behind) former Huntington president William P. McQuillan, Huntington President Mitchell J. Roberts, Nancy Roberts, Huntington Managing Director Michael Maso, photo: Paul Marotta
Article by Kitty Drexel
BOSTON — The July 9 press release said, “Huntington Theatre Company announces the election of 4 new board members and the promotion of two Huntington Advisors to Trustee level. The election took place during the Huntington’s year-end meeting of the Board of Trustees and Advisors on June 8, 2020.”
The headliner of the press release, Tony, Emmy, and Grammy Award winner, director of Huntington productions, and historically relevant badass Billy Porter is a new trustee of the Huntington. Porter and global businessman Professor George Yip are the only two people of color added to the Huntington’s snowflake white board leadership. Three of the six promotions are white women. The other is, of course, a rich, cis, white male.
While we congratulate all of the new board and trustee members, we can’t help but notice the Huntington’s hypocrisy. The theatre penned and posted a Black Lives Matter solidarity statement on its website. The election of four white people flies in the face of that solidarity statement. Continue reading →