The Spin is the story of an hour-long Zoom meeting between four publicists at the same firm, as they scramble to prepare for a TV interview involving one of their clients, the assistant to a local Mayor who had dealings with a recently scandalized – and promptly canceled – politician. Their mission? To spin the media narrative in the Mayor’s favor, to discredit the journalists with evidence against him, and to hide the fact that not only was the disgraced politician in question a former client of theirs, but a close personal friend to Deirdre — the head of the firm, and our protagonist.
Zoom theatre (as we’ve covered at length) is enormously difficult to do effectively, and The Spin is the best execution of it I have seen so far this year. Zoom’s most perilous flaws as a medium for storytelling are the same flaws that make it so frustrating in real life: the lags, the glitches, and the feeling of isolation. In my opinion, the best Zoom theatre takes these flaws and thrusts them into the spotlight, using them as fuel for the story’s conflict rather than ignoring them. The Spin does this in spades, and in doing so it manages to tell a searingly relevant, disturbingly hilarious, and incredibly tense story that manages to transcend both its medium and its subject matter.
Continue reading “REVIEW: ‘The Spin’ at Interrobang Theatre Project is a Tense, Hilarious Nightmare”
Roe at The Goodman Theatre, written by Lisa Loomer and directed by Vanessa Stalling, begins in the past, from the first court case of Roe v. Wade in 1970, and continues well on into the 2000s. The story itself brings in lots of quotes, monologues, facts, and information to give the audience, along with telling a segmented narrative from Norma, the woman behind Roe. This is a lot of information for any audience to take in under two hours, especially given that the show jumps in time. While there is a lot of talking to the audience in the show, we never really learn anything new about the case or who Norma really is. The show isn’t so much about Roe as it is about glimpses of ideas without a solid foundation.
Continue reading “‘Roe’ at the Goodman Theatre Gives Us Glimpses of a Famous Court Case”
Many Americans sitting in the audience for The Great Leap may have a basic knowledge of what happened at Tiananmen Square. Some of them watched the coverage on their televisions. Younger generations have read about the events in their textbooks. Some caught stories about that historic event during its 30th anniversary earlier this year. Almost all Americans have some working understanding, all with the privilege of distance. Lauren Yee closes that distance with her play The Great Leap, where an American college basketball team travels to Beijing for a “friendship” game when relations between the two nations are anything but friendly. The game is scheduled for June 3, 1989, one day before the Tiananmen Square protests come to a violent end. Director Jesca Prudencio taps into the inherent tension of time and place with the kind of dramatic spectacle typically reserved for the stadium. At its heart, The Great Leap is a play about collision: sports and theatre, US and China, protesters and government. The court in Steppenwolf’s Upstairs Theatre is the battlefield and the end of this collision course. Continue reading “‘The Great Leap’ at Steppenwolf Theatre is a Collision of Passion, Sports, and Protest”
What if King George had commissioned Shakespeare to write a play about the Gunpowder Plot?
It’s a fascinating question, and Equivocation at Idle Muse has the answer. After all, the famed Catholic plot to assassinate King James I happened in 1605, right around the time when William’s plays were at the height of popularity — as a mashup, it’s an entertaining and slightly scandalous idea that immediately grabs your attention. Playwright Bill Cain does a marvelous job of grounding the dialogue in the speech and politics of the era, such that the slowly unfolding conspiracy is both heightened and believable. The structure here is complex, interfolding, and lovely. Director Evan Jackson keeps things moving nicely; characters speak quickly and cleverly, taking us through emotional beats with efficiency and flair. There are lots of long scenes that could easily have dragged, but each one has a distinctive shape and feels like a journey through a big, empty house with lots of fascinating rooms. Continue reading “‘Equivocation’ at Idle Muse Theatre Company, and the Purpose of Art in Times of Tyranny”