Calamity West’s new work is an unapologetically and deftly-crafted theatrical edict declaring that if we continue as we are, the future will be anything but female.
BULL IN A CHINA SHOP reminds us that loving unapologetically and living one’s truth is, in itself, a revolutionary act. It deserves your attention.
The parallels between 1962 and now can’t be ignored, and WE’RE GONNA BE OKAY is an excellent choice to see at this time, as the infantile and antagonistic leaders of two nations put not only their own citizens at risk, but the entire world, as they challenge each other to see whose nuclear buttons are bigger.
The cast of Griffin Theatre Company’s production of RAGTIME, directed by Scott Weinstein. Photo by Michael Brosilow. Many consider the Tony-laden, late-90s musical RAGTIME an American classic. But I have to admit that I’m perplexed as to how its popularity even lasted this long. There’s no denying that the Ragtime music, the historical figures (Harry...
In this challenging and dividing cultural moment, there can perhaps be no greater longing than the one to make order out of chaos. And that is precisely why the characters in A DISAPPEARING NUMBER are so drawn to mathematics: that universe follows a separate and orderly reality—a reality far more comforting than the one in which these individuals (and the audience members) find themselves. It is a startling and lovely resonance, reinforced by Timeline’s equally lovely production.