Reviews

Spit Thy Poison

Founded in 2003, the Red Bull Theater has long been a space space for the Jacobean playwrights who are often ignored by revival companies in favor of their precedessor, Shakespeare.  In recent years, the company has added contemporary works to its roster, including Loot and The Mystery of Irma Vep, but it is nice to […]

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Reviews

I’m the Daughter of a Father

“In spite of what some people think, this show is actually quite carefully constructed,” Heidi Schreck says about one-third of the way into her play What the Constitution Means to Me.  Audiences might be forgiven for thinking otherwise.   What the Consitution Means to Me begins as a recreation of Schreck’s teenage years, when she would […]

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Reviews

Not Silence but the Sound of Silence

Leo (Daveed Diggs), an artist living in an unnamed metropolitan city, has been plagued by insomnia since childhood.  His best friend, Ralph (Thomas Sadoski), bought him a white noise machine once, and while it helped Leo sleep, it blocked him artistically.  He ditched the machine, and the insomnia came back—but not the work.  When Leo […]

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Reviews

Any Baggage You Don’t Claim, We Trash

We open with an esctatic funeral celebration led by the Jheri-curled Pastor Freeman (Marchánt Davis).  Esctatic because Barack Obama has just won the presidency, and therefore Freeman is burying not only Righttocomplain, another victim of white supremacy, but their “suffering as people in this wretched land.”  From now on, “the President of these United States […]

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Reviews

Too Real It All Seems

Ain’t Too Proud: The Life and Times of The Temptations is about survival.  In the near-sixty years since the band first formed, The Temptations have provided the soundtrack to integration, to Vietnam protest, even to the presidency of Barack Obama.  They have gone through twenty-four members.  Successive generations of musicians have lived through entire careers—indeed, […]

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Reviews

We Will Be Married o’Sunday

Directors of Shakespeare’s ostensiby problematic comedy The Taming of the Shrew have long found ambiguity in that taming—recently, for example, Ann Arbis mounted a “post-feminist” revival that hewed to a more equitable vision Kate and Petruchio’s power dynamic.  It is no surprise, then, that Kiss Me, Kate should soon follow suit.  This delightful Cole Porter and […]

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