Rachel Weinberg - Page 17

Kate Benson's new play 'A Beautiful Day in November on the Banks of the Greatest of the Great Lakes' takes place not on a lake, as the title might suggest, but rather in a gymnasium. The high-stakes Thanksgiving dinner at the center of the play unfolds at Wembley Stadium, where two announcers, # in charge of action and @ color commentary (yes, those are truly their names), quite literally call the shots into microphones from a booth above the stage. Directed by Lee Sunday Evans, this production relies on the ensemble to use heightened physicality and emotionality in order to bring this match to life. Fortunately, the actors who portray the Wembley family are fully committed to the challenged of making theatre into a literal game. In this production by New Georges in collaboration with Women's Project Theater, the unconventional 'Beautiful Day' is brought to vibrant, zany life.

Once upon a time there was a play that showcased fairy tale motifs and iPhones, dollhouses and GPS directional systems. This is Flux Theatre Ensemble's production of Kristen Palmer's world premiere play "Once Upon A Bride There Was A Forest," now running at the 4th Street Theatre. The logic behind the odd juxtaposition of these parallel universes remains a puzzle to me, as does the rest of the play's content. With direction by Heather Cohn, however, the ensemble in Flux's production manages to surpass the bizarre material that they are tasked with performing.

Mac Rogers's New York premiere play "Asymmetric" holds the distinction of being the only live theater thriller this audience member has seen. As staged by director Jordana Williams in the intimate Theater C at 59E59 Theaters, this play about troubled former CIA agent Josh Ruskin and his duplicitous ex-wife Sunny Black will leave audience members on the edge of their seats. Though lacking in emotional resonance, the production benefits from having an original theatrical concept backed by strong acting.

The South African Isango Ensemble's production of 'The Magic Flute: Impepe Yomlingo,' strips away some of the glossy sheen of Mozart's master work, leaving a show that is more down to earth and yet still revels in the joy of the composer's music. Under Mark Dunford May's direction, this 'Magic Flute' transports the show to an African township, showcasing a transposed score for African instruments and encompassing various African dialects (as well as English - the primary language used in the show).

'The Uncanny Valley' invites audiences to take a trip down the technological rabbit hole. Created and directed by University of North Carolina Chapel Hill professor Francesca Talenti, this new play makes for an unsettling evening at the theater - yet its overly moralistic tone prevents it from probing as deeply as it could. The play provides a twist on the concept of the uncanny valley - the idea that that which possesses human features and moves almost like a human being, but is slightly off, will have an effect of repulsion on the human viewer.

Goodman Theatre's production of Lerner and Loewe's 1947 musical Brigadoon lovingly pays homage to the tradition of classic American musical theatre while also retaining a sense of exuberance and delight. Helmed by director and choreographer Rachel Rockwell, this production does not shy away from spectacle and largely has the talent to back it up. The show preserves Lerner and Loewe's lush music and lyrics with an updated book by Brian Hill that provides an even sense of pacing and storyline.

AstonRep Theatre Company's high-quality production of "Wit" packs an emotional punch yet also revels in cleverness. Margaret Edson's Pultizer Prize winning play profoundly deals with the experience of cancer, and the capable actors in the show's ensemble - particularly Alexandra Bennett in the lead role - are up to the challenge. There is much to admire here, but this is an intense theatre experience (and rightfully so when dealing with such a difficult, indescribable topic). "Wit" inevitably spirals towards tragedy, and this sadness looms during the entire 90 minutes of the play.

'Motown the Musical' plays out like a veritable hit parade. Directed by Charles Randolph-Wright, this first national touring production showcases Motown Records producer Berry Gordy's greatest songs as performed by some capable onstage talent. The show makes for a lively and fun evening at the theatre but provides little in the way of truly meaningful plot or character development.