Wednesday, April 2, 2025
Adaptations are tricky. The best ones manage to cover the key points and honor the tone of the source material without getting bogged down by too many narrative details. These elements must also work well with the tools of the chosen medium. The Butcher Boy, a new musical now playing at Irish Repertory Theatre, achieves the benchmarks of a solid, imaginative adaptation, despite the oddball choice of transforming Patrick McCabe’s acclaimed 1992 novel about a schoolboy’s descent into mischief, madness and murder as the world around him collapses in a small Irish town in the 1960s. The Butcher Boy features a
Reviews
Theatre4the People and the Matthew Corozine Studio present ‘Under the Dragon’s Tail’ by Isaac Byrne
Real experts like E. M. Forester and Virginia Woolf knew what reviewers go out of their way explaining in wordy detail: there is no such thing as a simple plot. Like offline real life, a scripted tale's truths and lies depend on the teller. Playwright and director Isaac Byrne takes four familiar plotlines and tweaks them anew in Under the Dragon's Tail, four short plays performed by superbly talented members of Theatre 4the People (t4tp) at Matthew Corozine Studio Theatre. Snakes are modern-day descendants of dragons. Ophiology is the scientific study of snakes and an appropriate title for the first play on the
Cassandra Rosebeetle and JL Marlor’s ‘The Final Veil’ at the cell theatre
Co-Creator/Co-Choreographer/Director/Producer/Lead Performer Cassandra Rosebeetle and Co- Creator/Composer/Librettist JL Marlor describe The Final Veil as a movement opera. Unlike traditional opera, The Final Veil is scored for a string quartet and best experienced in a smaller space like the cell theatre. The female and non-binary quartet of singers and trio of dancers form a unified ensemble - a nuanced rethinking of Ancient Greek and grand opera choruses. The resulting hour-long work is devastating. The "final veil" refers to the last moments of Franceska Mann (Cassandra Rosebeetle) life. The German invasion of Poland starting World War II ended her promising career. The 25-year-old Jewish dancer was first
Public Theater’s Free Shakespeare in the Park: Richard III
It’s important, if not essential, for theatre makers to be ambitious and take risks. Equally crucial, especially in today’s climate, is considering diversity and inclusion when casting. However, when a production tries to tick all the boxes at once, that can muddle the play’s message. The latter is the unfortunate result of the production of Richard III, directed by Robert O’Hara and starring Danai Gurira in the title role. Though the efforts and intentions were admirable and excellent performances were given by all, throwing in everything and the kitchen sink made the show fall short of its possible impact by presenting
Loveghost @ Blackrose L.A.
Back in L.A. for the first time in a while as my presence was requested at Blackrose L.A. I couldn't resist the opportunity at seeing a live musical event. Blackrose LA is a new venue and will soon rival The Viper Room as the preeminant music venue in Los Angeles As the Pandemic eases up and quietude passes, more and more opportunities to write about live events are rearing their opportunistic heads. A random call in New York brought me here to check out this dramatic, eye-catching and dazzling event at Blackrose LA. headlined by LA mainstay, Loveghost. The entertainment for the
“Richard III” – Shakespeare in the Park
This summer, the Public Theater is celebrating the 60th season of Shakespeare in the Park, and it is one of the events that makes living in New York City a privilege. The first of the plays presented this year is the history play, "Richard III." Cards on the table right up front, "Richard III" is my favorite Shakespeare play, and the Wars of the Roses is a period in history I studied at some length. In short, I am an enthusiast, and readers deserve to know from whence these remarks come. Above all, this play is about power, its uses and mostly
QUINCE: An Unforgettable Immersive Experience Blossoms at The Bushwick Starr
Anyone who has tended a garden (even on a rooftop or fire escape) or owned a houseplant knows that a living thing needs proper care, time, nourishment, and nurturing to grow, flourish and reach its potential. The same is true of a new work of theatre. It does not sprout from the playwright’s head or the director’s vision fully actualized but requires an investment to cultivate the seed and make it bloom. I have seen no finer example of this in the past two years than the journey of the interactive play celebrating modern Mexican American culture playing (on extension) at
“Gratitude” — Urban Stages
Montreal's Mainline Theatre has brought “Gratitude” by Oren Safdie to New York's Urban Stages, and it is quite a strong premier for the show. Set in a private school in Canada in a disused locker room, the play explores teen sexuality (quite vividly), gender and consent. Throw in the clash between Canadian and the more traditional societies from whence some of its immigrants have come, and you have a play that is tense and uncomfortable to watch in places. The discomfort is deliberate. Indeed, it could be the whole point for some. “Gratitude” opens up a lot of topics that make
Fat Ham at The Public Theater: Succulent Joy Triumphs Over Tragedy
For a play premiering on Memorial Day weekend, what could feel more festive than a family gathering at a backyard barbecue served with a side of Shakespeare, a heaping portion of pop culture references, simmered in family drama, seasoned with violence and a dash of glitter to taste? Ay, there's the spice rub! Shakespeare's plays have had many adaptations and updated versions that take creative licenses with the Bard's works and themes. A favorite choice is the tale of the brooding, tragic prince with intense and questionable family dynamics. The Guardian recently published a piece examining the obsession that dramatists of stage and
For Some…The Future Was Female: 2 Reinvented Icons
Hopefully, with a lot of numerousness, the truer story of women in history and the arts will continue. #MeToo and COVID partially started this reckoning, and these two recent works are a sampling While these icons experienced struggle, they were white and privileged. There are plenty of reasons to stop right there, but their accomplishments - one documented, one speculative - led to a greater goods for all. Creativity is a non-gender specific word. New Camerata Opera's production of The Infinite Energy of Ada Lovelace by Kamala Sankaram. April 7-10, 2022. Dixon Place Theater (161A Chrystie Street, NYC) Augusta Ada King, Countess of Lovelace (1815-1852)'s backstory