October 5, 2022Deborah Klugman – Stage Raw Writer/director Catherine Butterfield’s women-centered dramedy is set in a working-class community south of Boston, where two sisters of Irish-Catholic extraction, Kelly (Tisha Terrasini-Banker) and Maureen (Amanda Weier), share a house once owned and occupied by their grandmother. The place is a throwback to a distant past, its walls replete with
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October 5, 2022Terry Morgan – Stage Raw When I was reading the press material for Lily Rushing’s Desert Stories for Lost Girls, I encountered the term genízaro for the first time. One definition of the word I discovered online defines it as: “…detribalized Native Americans, through war or payment of ransom, [who] were taken into Hispano and
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October 4, 2022Harker Jones – BroadwayWorld I NEVER SANG FOR MY FATHER is a moving meditation on aging, elder care, and the responsibility a grown child feels to both his parents and his own life. The hushed show set in 1965 Westchester, New York, aches with loneliness, regret, and melancholy as widower Gene (Shayne Anderson) struggles to
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October 4, 2022Steven Leigh Morris – Stage Raw Born in the 2011 Toronto Fringe Festival, Korean-Canadian scribe Ins Choi’s widely produced family comedy (spurring a spinoff sitcom on Canadian TV and Netflix) is a paeon to family. It clearly fills a hunger to reinforce embattled institutions (family businesses and family bonds), against children’s quest for independence, and
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October 2, 2022Katie Buenneke – Theatre Digest Your opinion of this solo performance will likely be determined by your opinion of Cecily Strong. Personally, prior to seeing this show, I found her skilled, but not thrilling, and spending 96 minutes with her here reinforces that assessment. Read more… Harker Jones – BroadwayWorld When THE SEARCH FOR SIGNS
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September 28, 2022Deborah Klugman – Stage Raw LaShea Delaney’s drama, Moniece Clark is about the media’s exploitation of crimes against women and the tendency of law enforcement to downplay those crimes if the victim is a woman of color. You don’t have to look far to uncover the deplorable statistics behind those concerns, to be found in
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September 26, 2022Terry Morgan – ArtsBeat LA In my experience, ninety percent of the time that there’s an issue with a theatrical production, the problem is the play itself. It’s surprisingly rare for the main trouble to be with the acting or direction or design. And so it is with Samuel D. Hunter’s A Great Wilderness. I’ve
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