Aug 04

“Macbeth” Gets Bloody Good: Part II

Presented by Liars & Believers
Directed by Jason Slavick
Original Music and Sound Design by Jay Mobley
Additional Video by Sam Powell

June 18, 2020 – Present (Weekly)
View – https://www.liarsandbelievers.com/show/pandemicplay/
LAB on Facebook, Twitter

Review by Gillian Daniels

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

Jul 29

A Modern Irish Classic: “The Weir”

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

A Performance On Screen
7/21-7/25
132 West 22nd Street
New York, NY
Irish Rep on Facebook

Critique by Noe Kamelamela

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

Jul 23

Coronavirus Take Me: “Edith VS. Quarantine”

Edith in all her glory.

​Presented, performed, and written by Amanda Erin Miller
Featuring: Rachel Evans, Melissa Shaw, Shawn Shafner, Lorin Taylor
Produced by FringePVD

Performed July 21, 2020 at 7:30PM
Website: How to Suffer Better, The Jew in the Ashram
Amanda Erin Miller on social media: 
Facebook
​Twitter
Venmo

Critique by Kitty Drexel

“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 festival HERE
FringePVD on Facebook

Jul 23

Faster than Eight Tiny Reindeer on Uppers : “Get Thee Behind Me, Santa”

Get Thee Behind Me, Santa: An Inexcusably Filthy Children’s Time-Travel Farce for Adults Only
Presented by Maximum Verbosity
Produced by FringePVD
Written and performed by phillip andrew bennett low

Performed on July 20, 2020 at 9PM
Website: Maximum Verbosity
Maximum Verbosity on Facebook 
Venmo
PayPal

Critique by Kitty Drexel

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

Jul 15

“Waiting for Kim Lee” Doesn’t Do Asian American Women Justice

Presented by Asian American Theatre Artists of Boston
Written by Vivian Liu Somers
Directed by Alison Qu

Virtual Staged Reading, July 8, 2020, 7PM
HowlRound Theatre Commons
AATAB on Facebook

Critique by Diana Lu

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

Jul 10

What We Mean When We Say Black Lives Matter

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

Jul 23

Laughter Through Tears: “Steel Magnolias”

The Cast; Photo by Tim Gurczak

Presented by Hub Theatre Company of Boston
By Robert Harling
Directed by Paula Plum

July 19 – Aug. 3, 2019
Club Cafe
209 Columbus Ave
Boston, MA
Hub on Facebook

Critique by Kitty Drexel

(Boston, MA) Steel Magnolias is a theatre classic. It can be seen in fringe and community productions across the country. The 1989 movie starring Sally Fields and Dolly Parton has firmly cemented itself into the 80’s pop culture. The 2012 TV-movie starring Queen Latifah and, queen in her own right, Phylicia Rashad introduced a new generation to the story. It has survived well because of its timelessness. There will always be a need for safer-spaces where women can be themselves beyond the emotional and physical labors society demands from them. Hub Theatre’s production nestles into that need.  Continue reading

Jul 21

Superfans in Cosplay Having the Best Time: “The Lightning Thief: The Percy Jackson Musical”

Presented by the Huntington Theatre Company
Adapted from the book, The Lightening Thief by Rick Riordan 
Book by Joe Tracz
Music and lyrics by Rob Rokicki
Directed by Stephen Brackett
Music direction by Wiley DeWeese
Choreography by Patrick McCollum
Fight direction by Rod Kinter
New puppetry design by AchesonWalsh Design Studios

July 17 – 28, 2019
Huntington Avenue Theatre
264 Huntington Ave
Boston, MA
The Huntington on Facebook

Critique by Kitty Drexel

(Boston) Saturday afternoon’s performance of The Lightning Thief: The Percy Jackson Musical was an event for superfans and their friends. Children in Camp Half-Blood t-shirts and their adults congregated to the Huntington Theatre to watch this musical about modern day children of Greek gods. It’s not a production for everyone; it’s specifically written for devotees to the Rick Riordan book. Theatre-lovers will appreciate the ingenuity of the design team but they should attend knowing that this musical isn’t for them; It’s for fans in their childhood years. Continue reading

Aug 10

“Leftovers” and the Balance Between Wishes and Truths

Photo by Paul Fox.

Presented by Company One Theatre
Written by Josh Wilder
Directed by Summer L. Williams
Developed by C1 PlayLab

July 21 – August 18, 2018
The Strand Theatre
543 Columbia Road, Boston, MA 02125
The Leftovers on Facebook

Review by Gillian Daniels

(Boston, MA) When a giant dandelion bursts out of the ground in their Philadelphia yard, Kwamaine (the charming Christian Scales) is enchanted while his older brother, Jalil (Kadahj Bennett, who pulls some of the best humorous faces I’ve seen on any given stage), is understandably baffled. Their harassed mother, Raquelle (Lyndsay Allyn Cox), is mostly just annoyed. Writer Josh Wilder and director Summer L. Williams deliver an odd, funny city-based fable that becomes a magic realist quest through systemic poverty, race, The Cosby Show, and the insulating nature of fantasies. Continue reading

Aug 06

A State of Virginal Ecstasy; Or, Needs More Snakes in Bowls: “Dark Room”

Ensemble | Photo Credit, Andrew Brilliant

Presented by Bridge Repertory Theater
Written by George Brant
Inspired by the life, death, and photography of Francesca Woodman
Directed by Olivia D’Ambrosio
Associate director and dramaturgy by Alexander Platt
Choreography by Doppelgänger Dance Collective

July 27 – August 16, 2018
In residence at the Multicultural Arts Center
Cambridge, MA
Bridge Rep on Facebook

Review by Kitty Drexel

Disclaimer: I auditioned for this production, and was not cast. It is my opinion that only a jackass would allow rejection, a natural process of auditioning, to taint their review.

(Cambridge, MA) Producer and director, D’Ambrosio gives an important, informative speech before Dark Room to guide audience expectations. She suggests we allow the performance to wash over us. Should we become puzzled by the actions onstage, rather than self-interpret what we see, we should allow the performance to explain itself through continued observance. I’d further posit that audience members do proper research before attending. The chiaroscuro style of Francesca Woodman is emphatically stirring. To fully absorb the performance, it behooves an audience to google Woodman’s art. Continue reading