Monthly Archives: January 2018




Cast features Matthew Broderick, John Slattery, J. Smith-Cameron, Peggy Shaw, Erin Markey, Gia Crovatin and Fred Weller

Feb 3-4 at La MaMa’s Ellen Stewart Theatre

La MaMa continues its season-long celebration of the life and work of Sam Shepard with WEEKEND WITH SAM, two days of readings and excerpts from Sam Shepard’s plays, prose and poetry, directed by Neil La Bute, Lois Weaver, Scott Wittman and Joel Zwick.  WEEKEND WITH SAM will be held in The Ellen Stewart Theatre (66 E. 4 St.) February 3 – 4, 2018.  All readings are free and open to the public, but not open for review by critics.

American playwright, actor, author, and director, Sam Shepard, who died on July 27, 2017, was a prominent playwright whose work spanned decades.  Sam did much of his early work at La MaMa and was one of the playwrights championed by La MaMa founder, the late Ellen Stewart. His original scripts, playbills, production photos and posters are part of the La MaMa Archives. 

WEEKEND WITH SAM kicks off on Saturday, February 3 at 7:30PM, with Scott Wittman directing Hawk Moon featuring excerpts and monologues from Hawk MoonMotel Chronicles, TonguesCowboy Mouth and other works read by Matthew Broderick, John Slattery, J. Smith-Cameron, Phil Burke, Erin Markey, Monk Hopper and Larry Saltzman (on guitar). 

WEEKEND WITH SAM continues on Sunday, February 4 at 4PM with a triple bill of works by Sam Shepard.  The program begins with Killer’s Head, directed by Lois Weaver and featuring Peggy Shaw reading the role originated by Richard Gere, followed by two unpublished, early plays originally produced at La MaMa:  Dog, directed by Joel Zwick, featuring Harry Mann and Zack Segel and Rocking Chair directed by Neil LaBute, featuring Fred Weller and Gia Crovatin.

Free reservations for WEEKEND WITH SAM are now open to La MaMa Members and will be open to the public online at beginning Monday, January 22, 2018.

About La MaMa

La MaMa is dedicated to the artist and all aspects of the theatre. The organization has a worldwide reputation for producing daring performance works that defy form and transcend barriers of ethnic and cultural identity. Founded in 1961 by award-winning theatre pioneer Ellen Stewart, La MaMa has presented more than 5,000 productions by 150,000 artists from more than 70 nations. A recipient of more than 30 Obie Awards and dozens of Drama Desk, Bessie, and Villager Awards, La MaMa has helped launch the careers of countless artists, many of whom have made important contributions to American and international arts milieus.

La MaMa’s 56th season highlights artists of different generations, gender identities, and cultural backgrounds, who question social mores and confront stereotypes, corruption, bigotry, racism, and xenophobia in their work.  Our stages embrace diversity in every form and present artists that persevere with bold self-expression despite social, economic, and political struggle and the 56th season reflects the urgency of reaffirming human interconnectedness.

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(Alexis Soloski’s article appeared in The New York Times, 1/10; via Pam Green.)

WILLIAMSBURG, Va. — The playwright Adrienne Kennedy never wanted to move to Virginia. She spent 30 years living on the fourth floor of a brownstone on West 89th Street — her “little Victorian palace,” she called it. But the rent went higher. Her breath on the stairs came shorter. Just before she turned 80, she traveled down to Williamsburg, Va., to visit her younger son, Adam Kennedy, and she stayed.

“Unfortunately, I’ve been here six years,” she said of her new city. “I hate it.”

The move to Virginia cost Ms. Kennedy her shelves of books and her walks down Broadway. But it has given her a poem, a memoir and a play, “He Brought Her Heart Back in a Box,” which begins performances at Theater for a New Audience on Jan. 18. It is her first new play in nearly a decadeand the first that she has written without a collaborator in 20 years.

Ms. Kennedy, one of the American theater’s greatest and least compromising experimentalists, was speaking at a table in a genteel hotel lounge near the Colonial Williamsburg living history site. Her dramas are sites of living history, too, where personal stories of racism’s unhealed wounds mingle with dark tales thieved from the Brothers Grimm and 1940s Hollywood.

(Read more)

Photo: American Theatre


By Bob Shuman

Theatregoers may be wondering whether La MaMa follows the news or whether the news is, in fact, following La MaMa—a paranoid insight pertinent to its two current productions, running until January 21,  both part of the Public’s Under the Radar Festival.  Downstairs, because of the comprehensiveness of its creators’ theatrical and artistic understanding, Panorama, in which its cast is told not to “act,” transcends being sensitivity training on the immigrant crisis (read this author’s review of that show).  Upstairs, in the Ellen Stewart Theatre, Split Britches (Lois Weaver and Peggy Shaw), popular downtown (and international) feminist/lesbian artists, detonate unexplored desire, H-bombs and communal anxiety in Unexploded Ordnances (UXO), a Dr. Strangelove-inspired end-of the-world scenario—this article is being written a day after mass panic in Hawaii, when the state was put on a ballistic missile alert, by mistake.

In addition to showing prescience, the Split Britches play lets viewers consider forum theatre, a style, theorized and employed by Augusto Boal, which allows spectators (in this case older audience members, who are brought to glowing tables of a Pentagon-like war room) to participate in the themes and  questions posed by the play.  The creators also relate that the gathering follows the meeting example of Lenni Lenape and Canarsie Native-American leaders–other peripheral observers are invited to actively engage in the content, too, permitting the work to be composed of what’s in the air and who’s in the room—an “elder” giving a one-night-only, dead-on imitation of Eleanor Roosevelt, for example.

Every evening can provide such an anomaly—in fact, performances have the potential to be very different from each other.  Split Britches, however,  is probably too uniform in its audience demographic to make Unexploded Ordnances (OXO) into an evening of scintillating debate—one unsatisfying answer to what needs to be done, given the world’s current state of affairs (from the old lefties in the East Village, the bleeding hearts who are willing to actually bleed), is “end capitalism” and replace with “Marxism.” Nevertheless, the most surprising takeaway, in entertaining the question, “How do we change?,” which is asked during the play, is the degree to which the audience can veer into the self-lacerating. “It’s too late,” comes one reply, explained as the result of too much guilty consumption, addiction, and ease. Protests are needed, is seen as a solution, or a strike against the government, and the complete breakdown of the rule of law. Then, a reality: “I’m too tired to strike.” 

Ordnances, weapons such as cannons, grenades and military materiel, is apt as part of the show’s title and its overriding metaphor, because the creators want to emphasize what can be buried inside and exploded—personally and politically.  The signature Split Britches routine, along with a fascination regarding finishing sentences, has, traditionally, been women-loving-women tripping up into the flirty awkwardness and Freudian slips of falling in love.  By extension, they are now playing generals and presidents who can flub into destroying the planet, even as the audience has the potential to be more interesting than the broad, satiric characters being portrayed (in a necessarily broad outline for a show). 

Weaver, Shaw, and Hannah Maxwell, the writers, might actually miss, and endorse the ways of a sinning, older America, a point made in the title of their 2008 show, Miss America.  You can feel this in Unexploded Ordnances (OXO), as well, when a popular song, by the Dominoes, is played and snippets of the Cold War drive-in movie, Dr. Strangelove are shown. Whatever the case, whether the audience gives thoughtful or knee-jerk reactions to current social considerations, the chance to engage with and contemplate community issues and action is rewarding:  Someone has to be thinking about whose finger is on the button.

© 2018 by Bob Shuman.  All rights reserved. Photos (top to bottom): Theo Cote; Roosevelt,; Matt Delbridge; Matt Delbridge (Peggy Shaw)   

Split Britches
Unexploded Ordnances (UXO)
Written by Peggy ShawLois Weaver, and Hannah Maxwell
Performed by Peggy Shaw and Lois Weaver

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Visit Split Britches


By Bob Shuman

Panorama, a burning expression of lives disassociated from the American overculture, is playing at the Downstairs at La MaMa, as part of the Public’s Under The Radar Festival, until January 21. Using audition tapes, from the Great Jones Repertory Company, to introduce six live actors (as well as ten on video), who identify or resonate with the immigrant experiencethe cast contends with American oppression in forms such as inequality and racism.  Motus, the Italian theatre company, which devised and directed the work, under Enrico Casagrande and Daniela Nicolò, with dramaturgy by Erik Ehn and Daniela Nicolò, has based its interviews and discussions on 40 questions, such as “Have you ever had to start your life over?”; What is your strongest understanding of the term ‘far away’, based on your experience?”; “When have you been welcomed by a stranger?” and when were you lost . . . and found?”  The multicultural cast, who physicalize the results include Maura Nguyen Donohue, John Gutierrez, Valois Mickens, eugene the poogene, Perry Yung, and Zishan Ugurlu, who can be intentionally blurred, in the play between video and stage action, as if a Psychology experiment is being conducted, where the color blue is called red.  The creators are using the technique to give expression to human, as opposed to individual, experience in the work, which is ferociously timely, given that Trump is seeking negotiation of his “bill of love,” regarding DACA, U.S. border security, family-based “chain migration,” and the visa lottery program.

Fluidity is salient in terms of the play’s views on national identity and  borders, but not on Capitalism, anathema to the collective.  None of the creators get around to saying how they might actually build businesses or make the economic situation better on their own, but Motus, as a touchstone of contemporary truth-telling, is ferocious and unflinching.  Examples, beyond politics, would include use of frontal nudity of both sexes (without being exploitive), and even the use of drugs.  Yet, the directors are able to counter controversial, perhaps shocking, stage elements by, for example, showing Donohue’s orgasm as she gets ready to eat Cheez Doodles (which may remind of Tina Turner’s Acid Queen) or recreating a ridiculously smoky world of crystal  meth.  Most piercing is Mickens’s close-up reaction to sexual harassment (the technical designs are by Sangmin Chae & Billy Clark, Seoungho Jeong, Bosul Kim, Varie Vazquez, and Youngsun Lim). 


The effective script may remind of the stories told by the dancers in A Chorus Line or the schoolchildren in The Me Nobody Knows.  Because an Aristotelian plot is not key in the show, the similarity in using monologues and question-and-answer formatting is aided by the virtually continuous pacing of Heather Paauwe’s nonintrusive music (Chorus Line also used a score that rarely stopped).  This bold evening, which uses minimal props and tight, specific, often solitary physical action, such as doing the Moonwalk or blowing up a balloon, does move nomadically, even if, ultimately, the artists yearn for a place to call home.  Where they find that is not so much in a country, which has offered aid—and is expected to supply more—but, rather, in the theatre, poor and ephemeral.

© 2018 by Bob Shuman.  All rights reserved. Photos: Perry Yung, Valois Mickens, and eugene the poogene by Theo Cote.


World Premiere
Devised and Directed by
Enrico Casagrande and Daniela Nicolò
Dramaturgy by Erik Ehn and Daniela Nicolò
With the actors of the Great Jones Repertory Company


Maura Nguyen Donohue, John Gutierrez, Valois Mickens, Eugene the Poogene, Perry Yung & Zishan Ugurlu

Assistant Director: Lola Giouse
Music: Heather Paauwe
Set Design: Seung Ho Yeong
Visual Design: Bosul Kim
Video Design: CultureHub with Sangmin Chae
Technical Direction: Yarie Vazquez

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(Elisabeth Vincentelli’s article appeared in The New York Times, 1/3; via Pam Green.)

PHILADELPHIA — Blanka Zizka, the artistic director of the Wilma Theater here, had reached a breaking point.

About seven years ago, she was putting on a new play featuring actors from New York, Los Angeles and Philadelphia, and “the room was filled with egos and fears,” Ms. Zizka said. It felt all too familiar: “starting a production trying to get the fear out of people.”

“It takes a long time to build trust,” explained Ms. Zizka, who defected from Czechoslovakia in 1976 with her husband, Jiri, and joined the fledgling Wilma three years later. “That sense of discontinuity was really painful. I thought, if that’s what theater means in the United States, I don’t want to do it. One possibility was to retire, and the other was to change things.”

Ms. Zizka did not retire — she went rogue.

The Wilma now has a three-year-old resident acting company and welcomes shows whose daring aesthetics depart from the factory-setting naturalism of most American stages, especially regional ones.

In November, for instance, the Hungarian director Csaba Horvath’s adventurous production of Federico García Lorca’s “Blood Wedding,” from 1932, started with high-energy Eastern European folk dancing. The rest of the show was similarly devoid of stereotypical Spanish signposts, betting instead on visceral physicality and complex tableaux. It looked like the kind of stylish Euro import one would see at the Brooklyn Academy of Music or the Park Avenue Armory.

(Read more)

Photo: The New York Times





Compassionate and disturbing, John Ford’s great story of doomed love between a brother and sister in this new, visceral production for radio, intercut with the music of Jimi Hendrix and Nick Cave.

Annabella ….. Jessie Buckley,
Giovanni ….. Damien Molony
Signor Florio ….. Niall Buggy, 
Putana ….. Fenella Woolgar, 
Friar Bonaventura ….. Oliver Cotton. 
Lord Soranzo ….. Matthew Pidgeon, 
Vasques …… Enzo Cilenti, 
Hippolita ….. Indira Varma.
Grimaldi ….. Gary Duncan, 
Cardinal ….. Neil McCaul, 
Officer ….. Adam Fitzgerald 
Dorando ….. Tayla Kovacevic-Ebong.
The original song – In Deep – composed by Jules Maxwell, and sung by Jessie Buckley, Indira Varma, and Abby Andrews
Introduction by Professor Emma Smith from Hertford College, Oxford.

Adapted and directed by Pauline Harris.

Further info:-

Jessie Buckley stars in her first radio appearance as Annabella. Credits include War and Peace for BBC One, The Last Post – BBC One and Taboo.
She played Anne Egermann in the West End revival of Stephen Sondheim’s A Little Night Music. Buckley played the part of Emily Strong in Rosamunde Pilcher’s four-part TV adaptation of her book Shades of Love. 
She appeared opposite Jude Law in Michael Grandage’s West End production of Henry V at the Noël Coward Theatre, and played Perdita in the Kenneth Branagh Theatre Company’s production of The Winter’s Tale.




When Philip Astley and his trick riders performed in 1768 in a circle not a straight line in a field behind where Waterloo station is now, the idea of the circus ring was born. Matthew Sweet looks at the career of the impresario, his 42 foot diameter ring which is still the big top template and 250 years of circus with historian Vanessa Toulmin, performer Andrew Van Buren whose family have worked for 35 years to bring Astley’s name to greater public attention, writer Naomi Frisby whose research focuses on women’s bodies in relation to circuses and sideshows and Tom Rack, artistic director of NoFit State circus Circus250 is a celebration with events around the UK and Ireland.

Producer Torquil MacLeod.

Main Image: A performance in progress at theatrical manager and equestrian Philip Astley’s Amphitheatre, Surrey Road, London, opened in 1798. Photo by Edward Gooch / Getty Images.


Following a year-long search, Ars Nova “one of the most adventurous Off Broadway companies” (New York Times) has been selected by Greenwich House as the new tenant of their historic, 199-seat Greenwich House Theater, which opened in 1917 and is located at 27 Barrow Street. In addition to operating and filling the beloved venue with new work by its emerging artists, Ars Nova will partner with Greenwich House on new community engagement and educational initiatives that will deepen the mission of both non-profit organizations.

In early 2019, the Greenwich House Theater will become the primary venue for Ars Nova’s award-winning, Off-Broadway premiere productions. This strategic decision allows Ars Nova to expose its emerging artists to a growing audience base, increases the technical capabilities of its home theater to keep pace with the big dreams of its world premiere artists, and fully dedicate its intimate theater on 54th Street to the discovery and development of new talent.

“Ars Nova is thrilled to have been selected to operate the Greenwich House Theater, which will become our new home base for our Off-Broadway premieres,” said Jason Eagan, the Founding Artistic Director of Ars Nova. “This will, in turn, stimulate our work of discovering and developing talent by freeing up space in our own jewel-box theater on 54th Street, where we will be able to increase our services to our artist community and expand our year-round programming. At the same time, this mission-driven partnership gives us an ideal platform to partner on arts education initiatives. Together, Ars Nova and Greenwich House can ensure that our resources are used to launch the careers of extraordinarily deserving early-career artists; as well as foster and develop arts appreciation and aspiration among the youngest of our next generation.”

“For over 100 years, Greenwich House has fostered community through the arts, and we’re excited to bring Ars Nova into the fold,” said Roy Leavitt, the Executive Director of Greenwich House. “Not only does Ars Nova have a strong vision for the Greenwich House Theater, they have a track record of fostering new artists and creating diverse audiences. We’re looking forward to partnering with them on new initiatives for theater lovers of all ages.”

Opened in 1917 as the Greenwich House Theater, Greenwich House’s Children Theater program occupied the space beginning in 1921. For over 65 years, under the leadership of children’s author and playwright Helen Murphy, the theater not only provided a constructive outlet for children of the area’s mostly Italian immigrant families, but its productions received widespread recognition. Beginning in the 1970s, a series of professional theater companies began operating in the space. The now defunct Sanctuary Theatre, whose members included voice artist Rip Torn and film star Geraldine Page, began productions in 1979. In 1985, Soho Rep. moved in, followed by the non-profit Drama Dept. in the 1990s. Since 2003, the theater has been occupied by the Barrow Street Theatre company and is currently home to a revival of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street, whose tickets are on sale through May 27, 2018.

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Adaptation of the Restoration classic by William Congreve features

Tony Award®-nominated actress Kristine Nielsen

Produced as part of The Women’s Voices Theater Festival

(Washington, DC) – Folger Theatre continues its 2017/18 season with The Way of the World, a new comedy freely adapted from the classic play by William Congreve. Written and directed by renowned author Theresa Rebeck (Mauritus and Seminar and Broadway; co-creator and head writer of TV’s Smash), the production will star Tony Award® nominee Kristine Nielsen (Present Laughter, You Can’t Take It With You, Vanya and Sonia and Masha and Spike on Broadway). 

The Way of the World, part of D.C.’s second installment of The Women’s Voices Theater Festival highlighting new works by female artists, is on stage from January 9 through February 11, 2018. Tickets are available online at or by calling the Folger Box Office at
(202) 544-7077.

Mae is a sweet-natured woman with just a little baggage—a $600 million inheritance. When her womanizing boyfriend Henry seduces her aunt, both women become the object of scandal. But Henry has a plan to win the heiress back. In the lush and opulent land of the Hamptons, where money and status determine everything, can love conquer all? This comedy of manners—with no manners at all—is a sparklingly witty physical comedy illuminating the foibles of the upper class.

Alongside Kristine Nielsen, who plays Mae’s ever-watchful Aunt Rene, the cast of The Way of the World features Eliza Huberth as the altruistic Mae, and Luigi Sottile as her inconstant boyfriend Henry. Rounding out the klatch of friends are Brandon Espinoza, Elan Zafir, Erica Dorfler, Ashley Austin Morris, and Daniel Morgan Shelley.

“I am thrilled to bring The Way of the World to Washington, D.C. to be a part of the momentous Womens Voices Theater Festival initiative,” says playwright and director Theresa Rebeck. “For this play, which could most easily be subtitled Lady Wishfort’s Revenge, we have assembled a remarkable, knock-out creative team as well a remarkable cast led by the comedic talents of the incomparable Kristine Nielsen. I am proud of this new work and cannot wait to begin working on it in the intimate surroundings of the Folger Theatre.”

The celebrated creative team includes prolific designers who have worked throughout the D.C. area, across the country, as well as numerous productions Off-Broadway and on Broadway, including Tony Award® nominee Alexander Dodge (scenic design), Tony Award® winners Linda Cho (costume design) and Donald Holder (lighting design), and M.L. Dogg (sound design).

“Continuing Folger’s 2017/18 season of epic tales of power, passion, and politics, it is such a pleasure to welcome the wonderfully insightful work of the remarkable Theresa Rebeck,” Janet Alexander Griffin, Folger Theatre’s Artistic Producer, says. “Adapted from one of the great Restoration comedies, first performed over 300 years ago, this modern-day The Way of the World remains a thought-provoking and hilarious satire of the absurdities and follies of high society. Folger Theatre is once again proud to participate in The Women’s Voices Theatre Festival.”

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(Charles Passy’s article appeared in the Wall Street Journal, 1/2; via the Drudge Report.)

Hits new sales high of $50.3 million for week, as individual productions also break records

It was a week of breaking records on Broadway.

Several shows, from “Hamilton” to two-decade-old hits such as “The Lion King” and “Chicago,” reported all-time sales highs for the seven-day period that ended Sunday, according to the Broadway League, the trade group that tracks the industry. Broadway itself also set a new weekly sales high of $50.3 million, beating the previous record of $49.7 million, set about a year ago.

(Read more)