#Polonsky Shakespeare Center

[caroleditosti]

'Orpheus Descending' One of Tennessee Williams Most Incisive Works is a Searing Triumph

Maggie Siff, Pico Alexander in Orpheus Descending (Gerry Goodstein) The hell of the South abides in Erica Schmidt’s revival of Orpheus Descending, currently running at Theatre for a New Audience in Brooklyn until August 6th. Tennessee Williams’ poetically brazen work about the underbelly of America that reeks of discrimination, violence, bigotry and cruelty seems particularly regressive in the…

[antonio-velardo]

Antonio Velardo shares: ‘Waiting for Godot’ Review: Old Friends Falling in and Out of Sync by Laura Collins-Hughes

By Laura Collins-Hughes Michael Shannon and Paul Sparks star in Arin Arbus’s pandemic-delayed production at the Polonsky Shakespeare Center. Published: November 14, 2023 at 09:00PM from NYT Theater https://ift.tt/l8y4gNZ via IFTTT

[lapdropworldwide]

David Strathairn Brings World War II Hero Jan Karski to Shattering Life, With a Message for Now

David Strathairn Brings World War II Hero Jan Karski to Shattering Life, With a Message for Now

Rich Hein Jan Karski should be better known, and perhaps David Strathairn’s masterful and committed performance bringing him to stage life will help remedy that. In the Theatre for a New Audience’s New York premiere of Clark Young and Derek Goldman’s 90-minute play Remember This: The Lesson of Jan Karski, directed by Goldman at the Polonsky Shakespeare Center in Brooklyn (to Oct. 9), we see not…

[vitaganiedae]

Immortal gods, I crave no pelf; I pray for no man but myself: Grant I may never prove so fond, To trust man on his oath or bond; Or a harlot, for her weeping; Or a dog, that seems a-sleeping: Or a keeper with my freedom; Or my friends, if I should need 'em. Amen. 

Timon of Athens, directed by Simon Godwin and starring Kathryn Hunter

Theatre For a New Audience and Shakespeare Theatre Company in Association with The Royal Shakespeare Company

[joedoakes]

Da neighborhood

[newyorktheater]

The two 17-year-olds are in love. Yet Chris (Tom Pecinka) is the son of the white patriarch from his hometown in Georgia, and Kay (Juliana Canfield) is the mixed-race daughter or another white man and a 15-year-old black woman who died shortly after giving birth, having run away to Ohio. Did Kay’s mother kill herself, or was she killed? Did Kay’s father really bring her mother’s heart back in a box? These are mysteries, not just to the audience, but to the characters in “He Brought Her Heart Back in a Box,” Adrienne Kennedy’s hallucinatory, haunted and hazy romance, her first play in almost a decade.

Those who saw the recent production at the Signature of Kennedy’s first play, the 1964 Funnyhouse of a Negro, should realize that her work cannot be summed up by anything as straightforward as a plot — that even the most accessible of her plays present a lyrical collage of elements from theater of the absurd, Greek tragedy, Tennessee Williams, Hollywood movies, and the autobiographical rage and humiliations of a black woman born in the 1930s. “He Brought Her Heart Back in a Box” is only 50 minutes long, but so fragmentary and impressionistic that it feels longer. Chris and Kay don’t so much talk with one another, even when face to face, as alternate monologues, telling some ugly stories of their families and the segregated town that Chris’ grandfather designed.

Before the play began, one of the ushers at the Polonsky Shakespeare Center directed me to the scale model of the Southern town of Montefiore, Georgia in 1941, which is its primary setting. I saw that the model, which was in the back of the auditorium, was all in shades of grey and that there was a tiny statue of a Confederate general outside the train station. But it took a second usher to point out to me the tiny little sign on the door to the station – “Whites Only.”

As in that model, there are dark hidden truths in Kennedy’s play, which are easy to miss. An obvious example is the title, which comes from the Brothers Grimm. A more obscure example: Chris talks about his father, a segregationist and white supremacist who sired several “Nigra children,” taking him on a trip to Berlin and visiting friends along “Wannsee Lake.” The Wannsee Villa is where the Nazis came up with the genocidal “Final Solution” for the Jews. There is a specific mystery here – what was his father doing there? — but it’s not too much of a stretch to see the playwright suggesting parallels between two horrors.

Director Evan Yionoulis turns this unforgiving memory play into a compelling aesthetic experience. Montana Blanco’s costumes recall the South at its most gentile,  Christopher Barreca’s set focuses on a steep staircase, that in the right lighting might suggest Gone with the Wind, but is more at home in Hithcock. Donald Holder’s lighting design and Austin Switser’s projection design offer some surprises. The two characters turn in credible performances, no mean task. And the show even makes the most of a chilling manikin.

There is a climax of a sort in “He Brought Her Heart Back in a Box” when Chris, who has moved to New York in hopes of becoming an actor, sings Dear Little Café, a song by Noel Coward from a 1940 movie musical starring Nelson Eddy and Jeannette McDonald. The title of the movie is Bitter Sweet. It’s a movie the two would-be lovers Chris and Kay both liked, and its title sums up the best in such a time and place that they could hope for.

“He Brought Her Heart Back in a Box,” Is on stage at at the Polonsky Shakespeare Center in Brooklyn through February 11, 2018

He Brought Her Heart Back in a Box Review: Adrienne Kennedy’s Fractured Tale of Doomed Love The two 17-year-olds are in love. Yet Chris (Tom Pecinka) is the son of the white patriarch from his hometown in Georgia, and Kay (Juliana Canfield) is the mixed-race daughter or another white man and a 15-year-old black woman who died shortly after giving birth, having run away to Ohio.

[tipsytheatre-blog]

danger knows full well that caesar is more dangerous than he

The Tragedy of Julius Caesar

Theatre for a New Audience

dir. Shana Cooper

Shakespeare’s Caesar is a great script with timely circumstances. This production, coming to Theatre for a New Audience after a run at Oregon Shakespeare Festival, rides in on the heels of a number of recent Julius Caesar revivals. Most notably, perhaps, being the Public’s infamous production at The Delacorte two summers back. Shana Cooper’s Caesar takes perhaps the opposite approach. Instead of outfitting the characters in a very specific place in a very specific time (The Presidency of 2017), the Rome of TFANA’s Polonsky Shakespeare Center seems to live in an unspecified luminal space.

As a society currently very familiar with the story of Julius Caesar, this production couldn’t seem to decide what it wanted to add to the conversation. I found myself yearning for the logic behind the process. Why this version of this play at this specific moment in history?

The Calpurnia/Portia scenes are tricky. These women have 5 minutes to justify their presence in this play; to reach the same level of gravitas and intimacy as the men. The women feel stifled all across in this production. Tiffany Rachelle Stewart, brilliant in this summer’s Sugar In Our Wounds, has been given a few extra moments in an attempt, I suspect, to imbue meaning upon women who don’t have much meaning in the original text.

The production needs to decide if it is making a comment on masculinity and commit to its choice either way. Throwing two extra women in small ensemble roles is both not enough and too much.

An emotional wash spiked by moments of sharp, poignant, powerful clarity. The murder of Cinna the poet, a thrilling artistic move! Yet the murder of the titular character (spoilers, oops), decidedly less so. The physical language of the world was inconsistent, but occasionally absolutely brilliant. At one point Caska kissed another soldier on the head, exploring tenderness in the riled-up masculinity of war. The final fight combat sequence has stuck in my head for days afterward.

Important moments felt rushed (The introduction of Mark Antony) while other moments lacked the spark to stay engaging (Calpurnia’s scene, but as I mentioned earlier, I don’t feel the women in the cast were set up for success). Perhaps later into their run the pace will iron out. Or perhaps the pace set at OSF doesn’t translate here. 

Matthew Amendt’s Cassius, a standout in my opinion, was fierce and motivated. Brutus (Brandon J Dirden) and Mark Antony (Jordan Barbour) were sometimes surface-level brooding. Stephen Michael Spencer as Caska brought a series of unexpected choices and exciting physicality. The set design by Sibyl Wickersheimer was effective without being focus-stealing, and vaguely evoked last season’s Winter’s Tale environment. The costumes (Raquel Barreto) were similarly utilitarian-chic, with the exception of the odd outfits worn at the top of play.

This production has a very strong foundation, things are bubbling beneath the surface and these ideals echoing in our minds endlessly in 2019.

[asiantheatre]

Under the list are all the confirmed, announced shows in the 2018-2019 season featuring Asian writers, actors, designers, directors, etc in New York, London, and International. Listed are the dates for first previews, the theater it’s performed in, and a summary of the show. 

This list isn’t 100% comprehensive and will be updated as time goes on. If we missed a show, please let us know!

Make sure to tune in and give these shows your love! 

BROADWAY (source)

Straight White Men

Until September 9, Hayes Theater

“It’s Christmas Eve, and Ed has gathered his three adult sons to celebrate with matching pajamas, trash-talking, and Chinese takeout. But when a question they can’t answer interrupts their holiday cheer, they are forced to confront their own identities. Obie Award-winning playwright Young Jean Lee takes a hilariously ruthless look at the classic American father-son drama. This is one white Christmas like you’ve never seen before.”

Getting the Band Back Together

August 19, 2018; Belasco Theatre

“The musical comedy follows 40-year-old out-of-work banker Mitch who moves back in with his mother and decides to reunite his old high school band, Juggernaut.”

King Kong

October 2018

This show reimagines the famous movie King Kong into a story about fame, greed, and manipulation within the original framework of a young actress and film maker finding their way to Skull Island, the home of a 2000 pound monkey.

Tootsie

March 29, 2019; Marriott Marquis

“Based on the film, Tootsie tells the story of a talented but difficult actor who struggles to find work until an audacious, desperate stunt lands him the role of a lifetime.”

Hadestown

Walter Kerr; March 22, 2019

Info in the west end section

Be More Chill

Lyceum Theater; February 13, 2019

Info in the offbway section

Chicago

July 1–14; Ambassador Theatre

Japanese star Ryoko Yonekura will make a limited run engagement as Roxie Hart before transferring over to Japan for the national tour.

OFF BROADWAY (source / 2)

Be More Chill

August 9, 2018;  Pershing Square Signature Center

Based on Ned Vizzini’s novel, the show tells the story of an average teenager who takes a pill purported to make people more—you guessed it—chill.

Henry VI

August 21, 2018 - NAATCO 

“Shakespeare’s Henry VI is the story of a great nation’s decent into barbarism and cruelty. It is a study of how the experience of a problematic foreign war erodes civil discourse at home, and how that erosion allows political self-interests to take hold and send a country hurtling into civil war.” 

Rags Parkland Sings the Songs of the Future

September 25, 2018; Ars Nova

 “250 years from now, constructed humans are built in black market labs, Mars is a forced labor camp and underground outlaws are brewing rebellion. You might not remember how Beaux Weathers and her band of “illegal intelligences” fought for the right to exist, but Rags Parkland does. Back on Earth for the first time in 10 years, Rags plays the music that carried us to where we are today. But on this planet, the more things change, the more we stay the same.”

India Pale Ale

October 2, 2018; Manhattan Theatre Club

“In a small Wisconsin town, a tight-knit Punjabi community gathers to celebrate the wedding of a traditional family’s only son, just as their strong-willed daughter announces her plans to move away and open a bar. As they come together for feasts filled with singing and dancing, one generation’s cherished customs clash with another’s modern-day aspirations, and ghosts and pirates from the family’s past linger in everyone’s thoughts – until one sudden event changes everything.”

Wild Goose Dreams

October 30, 2018; The Public Theatre

“Minsung is a “goose father,” a South Korean man whose wife and daughter have moved to America for a better life. Deeply lonely, he escapes onto the internet and meets Nanhee, a young defector forced to leave her family behind in North Korea. Amidst the endless noise of the modern world, where likes and shares have taken the place of love and touch, Minsung and Nanhee try their best to be real for each other. But after a lifetime of division and separation, is connection possible?“

The Resistable Rise or Arturo Ui

October 30- December 22, 2018; Classic Stage Company

The political allegory shows a Depression-era Chicago mobster, who, with the help of his henchmen, manipulates and murders his way to totalitarian rule of the cauliflower trade. The play uses a vaudevillian portrayal of American mafia culture to parallel events that brought the Third Reich to power.

A Chorus Line

November 14, 2018; New York City Center

“A Chorus Line, the 2018 New York City Center Annual Gala Presentation, is a joyous celebration of dance and musical theater—two art forms that City Center has been bringing to New York audiences for 75 years. In 1975, the stories of seventeen Broadway dancers were brought to life when A Chorus Line opened Off-Broadway. The musical was born of workshop sessions with actual Broadway dancers (eight of whom appeared in the original cast) who laid bare their personal stories and the challenges they faced in pursuit of their dreams.“

The Prisoner

November 24, 2018; Theatre for a New Audience/Polonsky Shakespeare Center

“The Prisoner examines the complexities of crime, justice, and compassion in a breathtaking new international production. A man sits alone outside a prison. Who is he, and what is he doing there? Is he free, or is he the prisoner?“

Noura

November 27, 2018; Playwrights Horizons

Noura and her husband have a successful life in New York, and, eight years after having fled their home in Iraq, they’ve finally gained citizen status—which Noura, as an Iraqi Christian, is celebrating by planning the perfect Christmas dinner. But when the arrival of a visitor stirs up long-buried memories, Noura and her husband are forced to confront the cost of their choices, and retrace the past they left behind.

Flower Drum Song’s 60th Anniversary Gala

December 2, 2018 - NAAP

The gala will begin at 5:30 PM with cocktails, followed by a 6:30 PM dinner (a traditional eight-course Chinese banquet). Throughout the evening will be entertainment informed by the history of Rodgers and Hammerstein’s Flower Drum Song.

Nassim

December 10, 2018; New York City Center

In his latest work, Nassim Soleimanpour explores the power of language to unite us in these uncertain times. No rehearsals. A different guest actor at every performance. A sealed envelope. Oh, and some surprises.

Blue Ridge

December 12, 2018; Atlantic Theater Company

“A progressive high-school teacher with a rage problem retaliates against her unscrupulous boss and is sentenced to six months at a church-sponsored halfway house, where she attends to everyone's recovery but her own. Set in Southern Appalachia, Blue Ridge is a pitch-dark comedy about heartbreak, hell-raising and healing.“

Merrily We Roll Along

January 12, 2019; Roundabout Theatre

Roundabout’s company in residence, Fiasco Theater, reimagines its next Stephen Sondheim creation. With Fiasco’s one-of-a-kind imagination, this audacious musical about a trio of showbiz friends who fall apart and come together over 20 years emerges as newly personal and passionate.

Superhero

January 31, 2019; Second Stage Theatre

Before we can save the world, we have to save each other. From the Tony and Pulitzer Prize-winning composer of Next to Normal and the Tony Award-winning writer of Red comes a deeply human new musical about a fractured family, the mysterious stranger in apartment 4-B, and the unexpected hero who just might save the day.

Anne of Green Gables: Part 1

The Royal Family Performing Arts Space; January 24-February 11

An adaptation of the book with the same title.

God Said This

Cherry Lane Theater; January 29-February 15

God Said This paints a portrait of five Kentuckians facing mortality in very different ways. With her mom undergoing chemotherapy, Hiro returns home, struggling to let go of the demons she inherited. Sophie, her born-again Christian sister, confronts her faith while tackling inevitable adversity. James, their recovering alcoholic father, wants to repair his fractured relationship with his daughters. And, John, an old classmate and thirty-something single dad, worries about leaving a lasting legacy for his only son.

Alice By Heart

MCC Theater; January 30-March 30

The show, by Waitress scribe Jessie Nelson and Spring Awakening duo Duncan Sheik and Steven Sater, adapts Lewis Carroll’s famed fantasy into a London-set tale against the backdrop of World War II, as Alice and her friend Alfred journey down a rabbit hole to find love, loss, and the courage to move forward despite harsh circumstances.

REGIONAL / US TOURS (source)

Man of God

January 31 - February 24, 2019; East West Players

A hidden discovery in a hotel bathroom changes the lives of four Korean Christian girls on a mission trip to Thailand. Samantha is hurt that someone she trusted could betray her. Jen is worried about how this might affect her college applications. Kyung-Hwa thinks everyone should adjust their expectations. Mimi’s out for blood. Amid the neon lights and go go bars in Bangkok, the girls plot revenge in this funny, feminist thriller.  

Mamma Mia

May 9 - June 9, 2019; East West Players 

On the eve of her wedding, a daughter’s quest to discover the identity of her father brings three men from her mother’s past back to the Greek island they last visited 20 years ago. The storytelling magic of ABBA’s timeless hits sets the scene for this infectious tale of love and frolicking fun, creating an unforgettable musical experience that will leave you dancing in the aisles!

Tours - Dates are subject to region

Aladdin

Hamilton

Miss Saigon

Hello Dolly

Falsettos

Lea Salonga’s Human Heart Tour

Rent

TV special live on Fox tells the story of the AIDS epidemic in New York City

WEST END/LONDON (source)

The King and I

Until September 29, 2018

Set in 1860s Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children.

Love’s Labor’s Lost

August 23, 2018; Shakespeare's Globe Theatre

“Self-denial is in fashion at the court of Navarre where the young king and three of his courtiers solemnly forswear all pleasures in favour of serious study. But when the Princess of France and her entourage arrive, it isn’t long before the all-male ‘academe’ have broken every one of their self-imposed rules. Shakespeare’s boisterous send-up of all those who try to turn their back on life is a dazzling parade of every weapon in the youthful playwright’s arsenal, from excruciating cross-purposes and impersonations to drunkenness and bust-ups. It’s a banquet of language, groaning with puns, rhymes and grotesque coinages“

Dance Nation

August 27, 2018; Almeida Theatre

“Somewhere in America, a revolution is coming. An army of competitive dancers is ready to take over the world, one routine at a time. With a pre-teen battle for power and perfection raging on and off stage, Dance Nation is a ferocious exploration of youth, ambition and self-discovery.“

The Humans

August 30, 2018; Hampstead Theatre

“Hampstead Theatre is proud to present the Broadway production of The Humans by Stephen Karam, the winner of four 2016 Tony Awards including Best Play. Three generations of the Blake family have assembled for Thanksgiving in Brigid and Richard’s ramshackle pre-war apartment in Lower Manhattan. Whilst the event may have a slightly improvised air, the family is determined to make the best of its time together. As they attempt to focus on the traditional festivities, fears of the past and pressures of the future seep into the reunion and the precariousness of their position becomes increasingly evident.”

The Village

September 7, 2018; Theatre Royal Stratford East

“The Village transports the Lope de Vega’s Spanish play, Fuenteovejuna to contemporary India. It’s a powerful story of community and solidarity, and the lengths a person will go to protect themselves from tyranny. In Jyoti’s village, life is simple. People work and sing while living off the land. And finding a partner is far from her mind. She’d much prefer a delicious meal. Things are happy until the Inspector and his men come back to town. But when the tyrannical Inspector has his eye on Jyoti and he commits unspeakable acts against the village, everyone is pushed to breaking point. Will Jyoti dare turn him down despite what it may mean for her village?”

White Teeth

October 26, 2018; Kiln Theatre

“Rosie Jones, the Iqbal twins, their parents, their grandparents, Mad Mary and an avalanche of other characters who make up the everyday chaos of Kilburn High Road come together in an extraordinary revelry of NW6. An epic comedy with music and dance, this theatrical rollercoaster takes us on a fast-paced journey through history, different cultures and chance encounters. Zadie Smith’s breakthrough novel is adapted for stage by acclaimed playwright Stephen Sharkey and directed by Artistic Director Indhu Rubasingham in a major world premiere.”

Hadestown

November 2, 2018; National Theater

“In the warmth of summertime, songwriter Orpheus and his muse Eurydice are living it up and falling in love. But as winter approaches, reality sets in: these young dreamers can’t survive on songs alone. Tempted by the promise of plenty, Eurydice is lured to the depths of industrial Hadestown. On a quest to save her, Orpheus journeys to the underworld where their trust is put to a final test.”

INTERNATIONAL

Philippines 

Side Show - August 31, 2018

M. Butterfly - September 13, 2018

A Doll’s House Part 2 - September 15, 2018

Waitress - November 2018

Angels in America Spring 2019

Beautiful: the Carole King Musical Spring 2019

Korea

Matilda - September 8, 2018

The Greatest Showman - August 7, 2018

Bridges of Madison County - August 11, 2018

Jungle Book - closing August 26, 2018

Singapore

Peter and the Star Catcher - September 28, 2018 

Other Local Shows

Japan

Fiddler on the Roof - December 16, 2018

Something Rotten - December 31, 2018

CHITTY CHITTY BANG BANG - May 16, 2018

Natasha, Pierre, and the Great Comet of 1812 - January 5, 2019

Chicago - Osaka (August 1-4 at the Orix Theater) and in Tokyo (August 7-18 at the Tokyu Theatre Orb).

Full list of shows in Japan (translated)

Other Local Shows

China

Rent - August 30, 2018

Les Mis - September 27, 2018

Hamlet - November 28, 2018

Chicago - December 20, 2018

Other Local Shows

Canada

Come From Away (until June 30, 2019)

Next to Normal Toronto (April 26-May 19)

Dear Evan Hansen 

New Zealand

If/Then - November 29-December 8, 2018

[sophiekellyfinalproject]

Fefu and Her Friends, 2019 Revival. Directed by Lileana Blain-Cruz, in the Polonsky Shakespeare Center, located in Brooklyn, NYC.

[caroleditosti]

'Des Moines,' the Opaque and Mysterious Artfully Shine at TFANA

You won't want to miss 'Des Moines.' It is at TFNA and ends on 8 January.

Arliss Howard, Johanna Day in Des Moines (courtesy of Gerry Goodstein) In Des Moines by award winning writer Denis Johnson nothing vital seems to happen during the time Dan, his wife Marta, their grandson Jimmy, Father Michael and Mrs. Drinkwater get smashing drunk and have a wild party in Dan and Marta’s modest second floor apartment in Des Moines, Iowa. Yet, in the 12 hours they spend…

[michelemovesnyc]

𝗙𝗼𝗿𝘁 𝗚𝗿𝗲𝗲𝗻𝗲 The tranquil, tree-lined historic district of Fort Greene is among Brooklyn’s most cosmopolitan neighborhoods. There is a reason for that, or rather, many: grand brownstones endowed with magnificent stoops, bookstores and bustling restaurants, good schools and varied transportation options, the soothing oasis of Fort Greene Park. The area is also one of the city’s cultural crossroads with the Brooklyn Academy of Music, the Mark Morris Dance Center, BRIC House, the Museum of Contemporary African Diasporan Arts and the Polonsky Shakespeare Center all within a few blocks from each other. No wonder that new luxury high rises have grown around this vibrant artistic Hub. 𝗧𝗵𝗶𝗻𝗴𝘀 𝘁𝗼 𝗹𝗼𝘃𝗲 𝗮𝗯𝗼𝘂𝘁 𝗙𝗼𝗿𝘁 𝗚𝗿𝗲𝗲𝗻𝗲 🤩New York's latest cultural hub, including buzzy BAM and the Center for Fiction 🤩Some of the city's most active stoop life 🤩Family-friendly, tree-lined streets and avenues 🤩Seasonal markets, cultural and sporting activities abound 𝐌𝐢𝐜𝐡𝐞𝐥𝐞.𝐃𝐞𝐧𝐛𝐲@𝐄𝐥𝐥𝐢𝐦𝐚𝐧.𝐜𝐨𝐦 𝐿𝐼𝐶𝐸𝑁𝑆𝐸𝐷 𝐴𝑆𝑆𝑂𝐶𝐼𝐴𝑇𝐸 𝑅𝐸𝐴𝐿 𝐸𝑆𝑇𝐴𝑇𝐸 𝐵𝑅𝑂𝐾𝐸𝑅 sociatap.com/MICHELEMOVESNYC

[michaelchallpics]

Michael and playwright Will Eno at the the premiere of “Hedwig And The Angry Inch 2014

There are news on the theatre front:

“Michael C. Hall to Star in Staged Reading of Will Eno's GNIT at Theatre for a New Audience

Theatre for a New Audience (TFANA; Jeffrey Horowitz, Founding Artistic Director) announces a public reading of Obie and Drama Desk Award-winning playwright Will Eno's Gnit, directed by Oliver Butler (The Open House, 2014), and starring acclaimed stage and screen actor Michael C. Hall (stage: Hedwig and the Angry Inch on Broadway, David Bowie's Lazarus at NYTW; screen: Six Feet Under, Dexter). The reading will take place June 18 at 7pm at Polonsky Shakespeare Center (262 Ashland Place, Brooklyn, NY)....

[econtenttv]

Why? (at The Polonsky Shakespeare Center) https://www.instagram.com/p/B3ST5RvBph5a9B5ipXLNJsr9d6x69ZFusfmeGo0/?igshid=120lwdhkqz9pe

[theissuecollector]

13 Plays and Musicals to Go to in N.Y.C. This Weekend

13 Plays and Musicals to Go to in N.Y.C. This Weekend

Our guide to plays and musicals coming to New York stages and a few last-chance picks of shows that are about to close. Our reviews of open shows are at nytimes.com/reviews/theater.

Previews and Openings

‘ABOUT ALICE’ at the Polonsky Shakespeare Center (previews start on Jan. 8; opens on Jan. 20). Based on what the Sunday Book Review called a “slim but walloping book,” this Theater for a New…

[funnynewsheadlines]

Winter Theatre Preview: Teen Angst and a Gender-Bending “King Lear”

Michael Schulman on “Kiss Me, Kate,” at Studio 54; “Be More Chill,” at the Lyceum; “About Alice,” at the Polonsky Shakespeare Center; and more. from Humor, Satire, and Cartoons https://ift.tt/2RB4fS3 from Blogger https://ift.tt/2zltjoh

[newyorktheater]

Wedding Band Review. Alice Childress' Love/Hate Story in Black and White

Wedding Band Review. Alice Childress’ Love/Hate Story in Black and White

The overdue resurrection of Alice Childress continues with this first New York production in half a century of “Wedding Band,”  her richly resonant story of an interracial couple set in 1918 South Carolina. It  opened tonight at Theatre for a New Audience’s Polonsky Shakespeare Center, oddly just a week before it closes. Let’s hope the run is extended, because it is hard to imagine a more…