The Crowd You’re In With at AstonRep takes place on an evocative set designed by Jeremiah Barr, the deck and backyard of a rundown suburban house that is set out for a 4th of July barbecue. Small accents, like deck chairs, fairy lights, and a tacky tablecloth, create a very lived-in feel. The lighting from Samantha Barr is atmospheric and welcoming; the yellow light from inside spills out through a screen door, and the fading blue ambience captures the feeling of a warm summer evening quite well.
We open at the barbecue of married couple Jasper (Martin Diaz-Valdes) and Melinda (Sara Pavlak McGuire) — consisting of another mid-thirties couple, the pregnant Windsong (Maggie Antonijevic) and the slightly obnoxious Dan (Nick Freed), the older married couple and landlords who live upstairs, Tom and Karen (Javier Carmona and Lynne Baker), and their single musician friend Darcy (Erin O’Brien). As it is slowly revealed that Jasper and Melinda are trying to get pregnant, the conversation turns to the subject of why some people choose to have kids, and why some don’t. Continue reading “Pontifications on Pregnancy in ‘The Crowd You’re In With’”
Are you turned on by foxes?
No? That’s probably good; that likely means you are a human with a (relatively) normal libido — and you are probably not, for instance, a roommate of mine who once professed to me his sincere attraction to the rabbit from Zootopia.
It is important to note, however, that furry communities do exist on this weird and wide world of ours, and as long as they are not acting unethically I am loathe to yuck their yum. People have all sorts of strange fetishes that will never make sense to me, but which also do not concern me in the slightest. First Love is the Revolution, though, wants you to be concerned — and not specifically about bestiality, which the play wields as a tool to make you take a hard look at uncomfortable truths. Rather, First Love examines the deluded notion that we civilized, upright humans are at our core any different from the myriad of species we torture, murder, and force into extinction every single day. And through this, of course, it also becomes a metaphor for how we treat each other. Continue reading “A Visceral, Intrusive, and Rip-Roaring Ninety Minutes at ‘First Love is the Revolution’”
I don’t need to tell you how good of a musical Next to Normal is; it won a Pulitzer. Nor is it a surprise that Tony-winning director David Cromer has created a masterful evening of small and terrifyingly intimate moments with a deft, spare, and nuanced hand. Instead, I’d like to focus on why this show had me weeping uncontrollably for most of its second act, and how I think it got there.
For those unfamiliar, Next to Normal is the story of the suburban, middle-class, normal-seeming Goodman family. Our central character, Diana (Keely Vasquez), struggles to live her adult life while dealing with severe and often crippling bipolar disorder. Her husband Dan (David Schlumpf) and teenage kids Natalie and Gabe (Kyrie Courter and Liam Oh), meanwhile, must deal with the side effects of Diana’s dysfunction. Continue reading “I’m Not Crying, You’re Crying!: The Edifice of Self in Next to Normal at Writers Theatre”
Elizabeth Ann Michaela Keel’s Corona takes place on a beautiful set designed by Hannah Beaudry; squarish, obsidian walls, accented with vibrantly lit-up panels that shine with different garish colors throughout. A raised white dais, which looks equal parts marble and futuristic, rises from the stage’s middle and invokes our collective idea of what a starship bridge looks like without mimicking it outright. In addition, right away we are treated to brilliant projections and lighting design from Claire Sangster; the contrast of the black set with monochromatic floods of blue, or pink, or orange create a lovely, spooky, and (pardon the pun) otherworldly feel. In director Tiffany Keane Schaefer’s production, the back wall and side panels show projections of stars and nebulae as they slowly drift by. Continue reading “‘Corona’ Shines Bright at Otherworld Theatre Company”
Before the performance of Detour Guide that I saw began, a producer from Silk Road Rising came out to talk to the audience. Before the usual pre-show announcements, he began by acknowledging the terrorist attacks in New Zealand, the news of which had broken just that morning. The audience shared a moment of silence, and then Karim Nagi came onstage to tell us a story that sought, in all aspects, to humanize and demystify the Arab world. He delved into the music, culture, and history of Egypt, Syria, and many other Arabic-speaking nations. He analyzed portrayals of the Arab world in Hollywood movies and attempted to dismantle stereotypes. He told stories of his childhood, growing up in America as the son of Egyptian immigrants, and of his trips back there. Detour Guide is a screamingly necessary show in this political era, where racist and anti-Muslim stereotypes are being peddled by the most powerful people in the Western world to immediate and devastating effect, as the news that morning reminded us. This is a show that rightfully forced me to address and challenge my own biases. Nagi goes out of his way to make us uncomfortable, and make us examine why we like or dislike certain cultural narratives. Continue reading “‘Detour Guide’ is A Sorely Needed Story That Stumbles in the Telling”
The Man Who Was Thursday is adapted from a novel originally published in 1908, but I went into it knowing nothing and I cannot recommend this approach enough. Currently running at Lifeline Theatre, The Man Who was Thursday is a lovely byzantine maze of subterfuge, false identities, and plot twists, and the less you know going in, the more fun you’ll have. Continue reading “‘The Man Who Was Thursday’ is a Pitch-Perfect Mix of Intrigue, Nostalgia, and Innovation”
A Gentleman’s Guide to Love and Murder, by Robert L. Freedman and Steven Lutvak, takes place in London at the turn of the 20th century, and concerns the adventures of middle-class stockbroker Monty Navarro (Andrés Enriquez) — who, upon learning that his recently deceased mother was disinherited from the obscenely wealthy D’Ysquith family (all played by Matt Crowle), sets out to murder his relatives as revenge. And also so that he can, not uncoincidentally, become next in line to be the Earl of Highhurst. Continue reading “A Gentleman’s Guide to Love and Murder is Rib-Cracking Fun”
Strawdog Theatre is always a lovely space to walk into; I’m a sucker for small, intimate blackboxes, and the alley seating and soft music playing as you file into Little Women, produced by Brown Paper Box Co., is quite calming. The set (designed by Jeremy Hollis) is simple and straightforward in all the right ways, with just a few leather trunks serving as both scenery and furniture. On the ceiling and by both entrances are panels of darkened wood that are evocative of 1800’s New England architecture while remaining unobtrusive. Continue reading “Love, Life, and Loss: ‘Little Women’ at Brown Paper Box Co. is a Balm for Troubled Times”
These are the fourth set of reviews from this year’s The Key: Young Critics Mentorship Program. Members of this cohort are: Sierra Carlson, Yasmin Mikhaiel, Aaron Lockman, Elon Sloan, and Lonnae Hickman. All reviews are workshopped and edited by co-facilitators Oliver Sava and Regina Victor. Check out their reviews of Rightlynd at Victory Gardens Theater below!
Continue reading “Key Reviews: ‘Rightlynd’ at Victory Gardens Theater”
These are the second set of reviews from this year’s The Key: Young Critics Mentorship Program. Members of this cohort are: Sierra Carlson, Yasmin Mikhaiel, Aaron Lockman, Elon Sloan, and Lonnae Hickman. All reviews are workshopped and edited by co-facilitators Oliver Sava and Regina Victor. Check out their reviews of The Curious Incident of the Dog in the Night-Time at Firebrand Theatre in collaboration with Timeline Theatre below! Continue reading “Key Reviews: The Curious Incident of the Dog in the Night-Time”