‘Scraps’ by Geraldine Inoa at The Flea Theater

Roland Lane (left), Alana Raquel Bowers (bottom center), Michael Oloyede (top center) and Tanyamaria (right) | Photo by Hunter Canning

Following last season's feminist theme, The Flea now shifts attention to "Color Brave."  If Scraps by Geraldine Inoa is any indication, 2018-19 is going to be daring and necessary, words not applied enough to local theatre.  The hard-hitting tragedy is now playing at the Flea's Siggy stage featuring resident actors The Bats. Scraps is not only a world premiere, it also marks Geraldine Inoa's debut as a professional playwright.  A scriptwriter for The Walking Dead and recipient of a writing grant established by Shonda Rhimes, her play has no zombies or prime-time McDreamy/McSteamy romance, and the dialogue would never pass ABC

Mint Theater’s Revival of ‘Days to Come’ by Lillian Hellman at The Beckett

DAYS TO COME BY LILLIAN HELLMAN Larry Bull, Janie Brookshire, Ted Deasy, and Mary Bacon Photo by Todd Cerveris

When it opened on Broadway in 1936, Days to Come lasted seven performances.  Perhaps audiences expected something more salacious from Lillian Hellman.  Her debut play The Children's Hour had plenty, and her second about an Ohio strike had none.  While Days to Come is no masterpiece, the Mint Theater's excellent production at The Beckett reveals a play mired in its past and present but anticipates the future. The Rodman siblings Andrew (Larry Bull) and Cora (Mary Bacon) are heirs to a brush factory.  Though the factory has remained operational during the Great Depression, the dwindling family fortune leads Andrew and lawyer Henry Ellicott (Ted

‘Red Emma and the Mad Monk’ at The Tank

Red Emma & The Mad Monk featuring Drita Kabashi as Rasputin, Photo by JJ Darling

Pre-teen Addison (Maybe Burke) likes history.  Specifically, the last Romanovs and their spiritual adviser Gregory "The Mad Monk" Rasputin (Drita Kabashi).  Out of loneliness and passion for a subject most of her peers will most likely never share even if they register Republican, Rasputin is a constant, real, and very funny friend.   Their fantastical relationship with each other and Russian-American activist Emma Goldman (Imani Pearl Williams) is the basis for Alexis Roblan's Red Emma and The Mad Monk.  The entertaining historical musical comedy-fantasy is now at The Tank following its 2017 world premiere at Ars Nova's ANT Fest. Red Emma and The Mad

Dance: The Sarasota Ballet at the Joyce

  The Joyce's closed it's 2017-2018 season with the return of The Sarasota Ballet.  With Dimensions Dance Theatre of Miami visiting in June and Sarasota Ballet last week, New Yorkers and Tri-Staters got a good look at Florida's thriving dance scene.  (Miami City Ballet comes to City Center in the fall.)  The August 18 matinee exemplified the excitement with a ballet not seen locally in a decade, another glimpse at the company's enviable Frederick Ashton repertory, and a guest appearance by Marcelo Gomes. Program B opened with Christopher Wheeldon's There Where She Loved.  Created for The Royal Ballet in 2000, it was last

Feature: Leonard Bernstein’s Secular Liturgical Music

Saturday, August 25 is the 100th anniversary of Leonard Bernstein's birth.  During the upcoming weekend, Tanglewood, the Boston Symphony's Berkshires summer home where "Lenny's" conducting career began as a student in 1940 and ended with his last concert months before his death in 1990, and London's BBC Proms offer non-stop Bernstein.  The classical music streaming service Medici.tv is offering a week of Bernstein archival footage and documentaries.  For those who want to keep the music going there is Sir Antonio Pappano and the The Santa Cecilia Orchestra's new release of Lenny's three symphonies.  Additionally, since musical milestones are aimed at

Theatre: The Bridge Production Group presents ‘The Blue Room’ at the WhiteBox Art Gallery

Over one year, He (Max Hunter) and She (Christina Toth) rekindle their relationship through the lives of others.  Some encounters are planned.  Others random.  Rich, poor, powerful, destructive, creative, desperate, and middling hook up and movie on, leading back the original prostitute.  That's David Hare's slow-burning look inside The Blue Room, now playing with its two excellent leads at the WhiteBox Art Gallery. Hare borrowed the premise from the Arthur Schnitzler’s 1897 sex farce Reigen (Roundelay).  The playwright got into trouble with Anti-Semitic Viennese censors and critics, but the play nevertheless became an international hit.  It is also a film classic, Max Ophüls's  La ronde (Round,

Dance: ‘Four Quartets’ at Bard/Summerscape

T.S. Eliot (1888-1965) has the pride of place among Dead White Authors.  His posh boarding school, Ivy League and ex-pat background makes him untouchable in English departments and on bloggie lists of "GREATEST WRITERS EVER."  Still, there are times when the heart of even an overrated writer's work created at the expense of a mentally-ill first wife is laid bare.  Thanks to choreographer Pam Tanowitz and her company, composer Kaija Saariaho, artist Brice Marden, musicians of The Knights and most of all actress Kathleen Chalfant, Eliot's Four Quartets's is not for post-docs alone.  It is unfortunate that there were only three performances of this

Dance: The Joyce Ballet Festival

The annual Joyce Ballet Festival showcases the incredibly high level and high-energy of American ballet.  This is a time of reflection, renewal and reconfiguration in ballet, and the two companies described here are conduits of that positive change. Dimensions Dance Theatre of Miami (June 26-27) Ballet may never rate as high as Disneyland, but Miami now has two major dance companies  Dimensions Dance Theatre, founded in 2016 by former Miami City Ballet married principles Carlos Guerra and Jennifer Kronenberg, opened The Festival on June 26.  Founded in 2016, the company's gifted, personable dancers have already mastered an eclectic repertory. Guerra and Kronenberg themselves

Dance: Sarah Lane’s debuts her Kitri in ABT’s ‘Don Quixote’ at the Metropolitan Opera House

One way of defining a performance is that it is an experience of shared hopes between artists and their audience.  Sometimes the final result exceeds the good wishes and anticipation.  That's what happened during the Saturday, June 30 matinee of Don Quixote when American Ballet Theatre Principal Sarah Lane resoundingly danced her first Kitri, one of ballet's most difficult and fun roles. What made Lane's debut memorable has a great deal to do with Marius Petipa's boisterous 1869 ballet and Alexander Gorsky's 1902 dance-as-drama re-staging of it (ABT Artistic Director Kevin McKenzie and Ballet Mistress Susan Jones based their 1995 production

Theatre: HERE’s Dream Music Puppertry Program presents ‘American Weather’

  A steel hula hoop spins.  When if falls it becomes a container.  Then the container's soft outer lining forms, depending on one's point of view, a bed, boat or coffin.  Deliberate randomness forms the strong visual story told by Chris Green's American Weather at HERE's Dorothy B.Williams Theatre. Thanks to Green and his collaborator's masterful multidisciplinary combination of puppetry, video, song, verse and live action, American Weather's barometer reads division.  This self-contained stage storm is played out across a picket fence with sharp edges.  Katie Melby is the slow-moving soul in front of the fence/screen and a puppet costumed as a fencer in back of it. The