The concept of “re-imagining” performance art seems to be en vogue lately, discussed and debated as if it’s something new, innovative. There’s nothing much new about it. William Shakespeare “re-imagined” virtually every play published under his name, and it has worked out quite well for him and about 500 years’ worth of theatre audiences. Very … Continue reading
Bat Boy: The Musical is no Spring Awakening, if that’s what it aspires to. Are you easily offended? If so, give this show a pass. It’s an equal opportunity, multi-level offender. But if you find a parody concerning a disabled, blood-sucking, kind of effeminate, part human lad, widely misunderstood by stereotypically violent, rural hicks a … Continue reading
No goofy teen Hayley Mills bebops about in Bathsheba Doran’s hour long Parents Evening, presented by Proper Hijinx at the Addison Conference Center Studio Theatre through Sunday, October 1. An embattled, bickering, relentlessly flagellating homage to the ritual prep some couples with progeny must go through prior to engaging in parent-teacher conferences at the dreaded … Continue reading
Go, team — 6 of 9 lauded directors are women…. OUTSTANDING DIRECTION Robin Armstrong, Ripcord, Circle Theatre Emily Scott Banks, Stupid Fucking Bird, Stage West; The Gospel According to Thomas Jefferson, Charles Dickens, and Count Leo Tolstoy: Discord, WaterTower Theatre Cheryl Denson, Angels in America, Part One: Millennium Approaches, Uptown Players Marianne Galloway, Stiff, Risk Theater Initiative (Festival of Independent … Continue reading
Underwhelmed. Puzzled about it. When I attend a play heralded as a product of Chicago’s Steppenwolf Theatre, I expect to experience a performance of depth, resonance and drama. I attended Water Tower Theatre’s opening night regional premiere performance of Ike Holter’s Hit the Wall (running through August 20), anticipating a wow. I waited and waited. … Continue reading
Lenny Bruce is back and looks damn good for a guy who died of a morphine overdose in 1966. But let’s not get ahead of ourselves. When he stepped out on the Dallas Comedy House stage Friday August 4, he looked like a million greenbacks, sparkling with macho swagger and lady-killer grin. From the slick, … Continue reading
“I am getting out of this booty-busting shithole today, six months of hell, man I hate this place. I have been sitting here for over two hours just waiting…where is she?” Tommy Cain, Van Quattro’s taboo-trampling, sharp-edged solo play, runs through August 5 at Dallas’ 2017 Festival of Independent Theatres, and you should haul your … Continue reading
Regional esteemed professional actor/playwright Van Quattro put his heart and soul on the line in his successful autobiographical one man show Standing 8, portraying his search for love and self-worth as an angry, unstable young man in LA. It’s a gripping, honest and poignant confession. I witnessed several versions as he dug deeper and refined … Continue reading
The three productions that round out Festival of Independent Theatres 2017’s opening volley (aside from Risk Theatre Initiative’s brilliant Stiff, reviewed separately) are standard fare for appropriate inclusion. David Meglino and his brainstorming crew know what they are doing in assembling this yearly puzzle. This enduring niche festival has a devoted audience; many will enjoy … Continue reading
I have never experienced a performance quite like Stiff before. Most plays exist as art underpinned by some aspect of life, from the realistic to the absurd, the tragic to the comic, the trite and predictable to the original and unexpected. The Art defines reality on stage. Risk Theater Initiative’s entrant in the 2017 Festival … Continue reading
