In the spirit of non-illusory theater (The Neo-futurists pioneered this genre in 1988), I’d like to submit a meta-assessment. MIKE MOTHER weaves in and out of the present moment and current reality, leaving in its wake open wounds, left gaping so they can be pointed at and acknowledged that they gape on purpose by their poetic author, all of it charged by the electricity coming off of a very energetic opening night crowd. The Neos’ community knows best about the strength and vulnerability required for their brand of immediacy.
For musical theater die-hards (like myself), Porchlight Music Theatre’s concert reading of CHESS—a three-night-only engagement as part of the Porchlight Revisits series—is simply delightful.
Memories are beautiful moments that awake our purpose for living. It is not easy to memorialize the story of the Mirabal sisters and the volatile history of the Dominican people during the dictatorship of Rafael Trujillo. However, Caridad Svich writes a symphonic liberation of Julia Álvarez’s renowned novel IN THE TIME OF THE BUTTERFLIES.
With race being a topic of much distress, a topic which the arts could be leading the movement toward equality and embracement, it’s unfortunate that what we are getting is simply a really decent copy.
As the secretary and wannabe stage actor Ulla sings in THE PRODUCERS, when you got it, flaunt it. And Mercury Theater’s production definitely got it.