The Magic Theatre, which recently just mounted two legacy revivals of plays that were produced at the Magic early on in their respective lives (Sam Shepard’s Fool for Love and Paula Vogel’s The Baltimore Waltz), has returned to their original mission of producing world premieres with Han Ong’s new play Grandeur, about the life of Gil Scott-Heron, the spoken word poet who is generally considered to be, along with Coke La Rock, the very first rap artist. While the play is a rarefied experience and formally almost diametrically opposed to rap music, there’s no doubt that Grandeur is the first draft of a major American drama, and while it doesn’t appear to be finished in its current production, it still shows enough sparks of genius to be absolutely worth a trek to the Marina District in San Francisco to see it.
San Franciscans once again have the chance to go see a major musical during its pre-Broadway tryout, getting to see a rough draft of a show that will assumably make the transfer to Broadway in the fall or next spring if all goes well. The last production to try out in San Francisco was Beautiful: The Carole King Musical, which was a true smash hit when it made it to Broadway back in 2014, still raking in the cash today, three years later. The same producers as Beautiful have brought in Roman Holiday, a musical based on the 1953 romantic comedy film that launched Audrey Hepburn’s career and is today considered to be one of the most iconic films of the classic Hollywood era that uses Cole Porter standards to comprise its musical score.
The Roommate, Jen Silverman’s 2015 comedy, premiered at the Actors Theatre of Louisville’s Humana Festival, and has made the rounds of America’s professional regional companies since, including the Williamstown Theatre Festival and the Baltimore Everyman Theatre. Now, it has arrived at the San Francisco Playhouse, the Bay Area’s top theatre company. While it’s doubtful that the play will ever win any major awards, it’s frequently very funny and is a showcase for two actresses of a high calibre to do what they do best: act up a storm.
Entering the Curran theatre’s gorgeously renovated house to a see a performance of The Encounter, one is immediately struck by the presence of headphones at every seat in the house. Listening devices have become commonplace in the modern theatre world for hard of hearing patrons, but this appears to be something new entirely. Indeed, The Encounter, a one-man show directed and performed by one Simon McBurney, uses headphones for the show’s entire sonic output, which uses a variety of sound effects and binaural microphones onstage to create a sort of soundscape to accompany the relatively minimal action that happens onstage.
Author Lucas Hnath specializes in postmodern morality plays in which four characters spend ninety intermission-free minutes arguing with each other within the context of some kind of metatheatricality, constantly reminding the audience that they are watching a play of some sort. In short: downtown theatre, the kind of play one might expect to be presented at a respected off-Broadway company, get rave reviews, and then close after the set six-week run. So what on earth is A Doll’s House, Part 2, a very postmodern, tongue-in-cheek “sequel” to Ibsen’s masterwork, doing at the Golden, an 800-seat Broadway house, in a glossy production produced by the almighty Scott Rudin? That question is seemingly impossible to answer, but New Yorkers should rejoice either way. A Doll’s House, Part 2 is an exceptionally strong play, and is exactly the antivenin needed by audiences weary of the parade of over-produced Broadway theatre. Continue reading “Review: “A Doll’s House, Part 2” at the Golden Theatre, New York”
Word on the street was that Annie Baker’s new play, The Antipodes, was a total bomb. Those new to her work and longtime fans alike are reporting that the work did not succeed in any way. Indeed, at the performance of the play that I attended, there was a cacophony of sighs of irritation during the show and a general sense of discontentment expressed by those milling about the lobby after the play ended. I understand their distaste, even outright animosity, towards the work, but I, for one, found it to be simply extraordinary. It’s a rarified experience, so much so that I would hesitate before actually recommending it to anyone. Those who find that they connect to The Antipodes will never forget it; those who don’t connect will wish they could.
There are a select few musicals that, despite bombing during their original New York productions, have been produced with surprising regularity by regional theaters across the country, often with revised books. Some have been kind-of fixed, like Merrily We Roll Along or Candide, both of which can make for wonderful entertainment, if not great musicals in and of themselves. Others, such as Anyone Can Whistle or Mack & Mabel, simply don’t work, regardless of who tinkers with what. The reason why such shows continue to be produced despite flaws is that they fulfill two specific criteria. First, they need a wonderful score, the kind that makes the show on record seem like a surefire hit. Secondly, they need a subject matter that sounds interesting enough on paper to make theatre companies think that they will be the first to “crack” the material where others have failed. Such is the case with TheatreWorks, Silicon Valley’s production of Rags, which ultimately does not come together to create a satisfying evening of theatre, but offers enough of interest to reveal why companies still keep giving Rags a shot.