Adam Zaininger and Will Burdin. Photo: John Jennings. Review: OUT OF THE BLUE at Organic Theater By Tonika Todorova The Russian word goluboi—or light-blue—entered the gay slang lexicon because of the light-blue shirts gay men would wear to recognize one another when cruising in a homophobic post-Soviet Russia. A year...
Rajiv Joseph’s pressure-cooker of a play reveals that you are not merely an audience member, but a spectator at a turbulent tennis match—power volleying feverishly between student and teacher. Psychological crucible THE NORTH POOL ultimately culminates in an oddly cathartic detonation, cutting both captor and captive down to their common denominator—maddening guilt.
Connor Burke is a man overcome with regret, clutching at the scraps of life that remain after catastrophe tears apart his world like a tortuous riptide.
Do you remember what it was like to see your world as a game? I picture myself as a child, a small flame-haired thing, running around heavily-wooded Defiance, Missouri, thinking my little universe is but an ever-stretching scene of discovery. An oddly shaped stone, a lost pen cap, the first summer firefly– everything in sight was a clue to unraveling the wonder of the everyday. I was happy to catch a glimpse of that feeling again this weekend with SHERLOCK HOLMES AND THE MYSTERY OF PORTAGE PARK, watching merrily on as adults and children alike take delight in the seemingly ordinary world around them.
In a time when most storefronts have little faith in their audience to make it through 90 minutes without looking at their phone, Prowess flies through it’s 2+ hour run time.
“Honest living! Honest living!” an ensemble member cries out, miming a window washer in this setting of grimy, mid-AIDS epidemic New York City. I don’t think I’ve ever really noticed this moment in RENT before. But isn’t that what RENT is? Honest. Living.
Armed with innovative storytelling tools, the Hypocrites can transport you through time and space with simple, committed magic, often leaving the wizardry at the tip of their fingers to ignite whenever they wish. It is no surprise they present epic stories in a modern, easy-to-connect-with style.
At the House, they take great care of their audience. I usually shrink down in my seat at the thought of audience participation, but under Nathan Allen’s direction and Watkins’ mastery, to participate feels like we might be in on the trick.
Richard Bean’s ONE MAN, TWO GUVNORS—based on the 18th-century commedia dell’arte play The Servent of Two Masters by Carlo Goldoni—is a laugh-out-loud, silly, whip-crack smart comedy, and probably the most fun I’ve had at the theater in a long time.