“No one dies at Disney,” Stephanie Shum screeches into the abyss during Small World at The New Colony, a show that may prove to be the funniest and simultaneously most disturbing theatrical event of 2019. When I say funny I do not mean elbow your friend and chuckle a few times in the first thirty minutes before things get serious. Jillian Leff and Joe Lino’s new play Small World made me and my guest guffaw for about 80 solid minutes. This is a refreshing structure, as there is still quite a lot of emotional depth provided by the text and Patriac Coakley, Stephanie Shum and Jackie Seijo, the cast of three that launches this production into the stratosphere of hold-on-to-your-stomach hilarity. Continue reading “‘Small World’ Delivers a Sidesplitting End of Days at The New Colony”
This review was penned by one of our current writers in The Key: Young Critics Mentorship Program. They are able to sign up for additional shows to grow their criticism portfolio with us. Read The Key Reviews from Fall 2018 here.
Upon reading the synopsis, many would wonder if Fun Harmless Warmachine is the play we need right now. It’s the tale of the supposed “nice guy,” a gamer working a job he hates in a world where the words of women leave him baffled and angry. With this formula in mind, it is not too hard to believe Tom gets sucked into a toxic online community, known as the Order of the Sword, which first functions as a digital place of refuge, a place to confide in like-minded gamers. This story is based on #Gamergate, a notable controversy you should look up before the show—though the program offers a list of videogame definitions to fill in some of the blanks. Continue reading “Male Fragility Fuels The Explosive ‘Fun Harmless Warmachine’”
In one of the most dramatically effective moments of Loy Webb’s, The Light, Genesis (Tiffany Oglesby) describes to her fiancé, Rashad (Jeffery Owen Freelon Jr.), how black women have been socialized to believe they have just two options in the wake of trauma: be strong or fall apart. In response, Rashad suggests he can carry some of that burden and offers his love as “option three.” With this Webb embarks on illuminating not only a series of important emotional truths but also some serious political ones. But, as the play’s title would suggest, for all its weighty content, at its heart this play is an uplifting character driven romance.