Tag Archives: Cathy Hammer

Malcolm X & Redd Foxx Washing Dishes at Jimmy’s Chicken Shack in Harlem

On Demand, Play October 25, 2025 Leave a comment

In June of 1943, Malcolm Little and John Elroy Sanford crossed paths as dishwashers in the same Harlem fried chicken joint.  At ages 19 and 20 respectively, they were still finding their footing as Black men at a time when they were encouraged to give their lives for the country, but not being given societal or economic opportunity.  His father having died early and his mother hospitalized after a breakdown, Little was a petty criminal, frustrated to keep finding himself on that path.  Foxy was an aspiring comic who already handled his finances so poorly he was living on a rooftop.  The engaging Malcolm X & Redd Foxx Washing Dishes at Jimmy’s Chicken Shack in Harlem opens an imaginative window into the relationship between these two men long before fame found them.  

Though familiarity with the raunchy comedian and the inspirational Muslim leader is helpful, at heart Jonathan Norton — who won the American Theatre Critics/Journalists’ M. Elizabeth Osborn New Play Award  for Mississippi Godddamn — has here written a thoughtful exploration of friendship.  Though Foxy and Little share concerns, they have divergent approaches for overcoming them.  By turns, they build each other up and tear each other down, eventually bringing out something special in one another that perhaps no one else would unearth.  Always running in the background is the pre-civil-rights society that literally and metaphorically deprives the two of the music in life.  

Squat and expressive, with an ability to swing from insecurity to dominance, Trey Smith-Mills plays Foxy.  The long and suave Edwin Green — who has been with the production since its 2024 Off-Broadway reading — makes a terrific counterpart as Little.  Director Dexter J. Singleton heightens the required physicality and timing in both performances.

Trey Smith-Mills and Edwin Green as Foxy and Little; Photo by Wesley Hitt

Costume designer Claudia Brownlee provides the right style-on-a budget wardrobe, particularly with a red and white suit and outrageous hat for Foxy.  Jennifer McClory’s wigs mimic the chemically treated reddish hair that was popular in that period.  The shabby back-kitchen set with its stained walls and gurgling drain is designed by Kimberly Powers.  Blackouts and hot spots (lighting by Levi J. Wilkins) along with jazz standards and order-up bells (sound by Howard Patterson) work cleverly together to illustrate the passage of long summer days.

Malcolm X & Redd Foxx Washing Dishes at Jimmy’s Chicken Shack in Harlem is a captivating two hander about people you think you know in an era you think you understand.  Above all, it is the evolution of a friendship that reverberated throughout two meaningful lives.  This World Premiere was commissioned by TheatreSquared, and is a co-production of T2, City Theatre Company, Virginia Stage Company and Dallas Theater Center.  The run has been extended until November 2nd.  Live performances take place at Spring Theatre (477 W. Spring St., Fayetteville, AR).  The streaming version is shot casually (odd angles, heads in the way, uneven audio) but is a wonderful option for those with mobility or childcare issues and those of us who live at too great a distance from the the venue.  Content is for mature audiences, with simulated drug use and adult language.  Runtime is an hour and forty minutes with no intermission.  Both live tickets ($$25-$71) and streaming tickets ($25-$35) are available at theatre2.org/jimmys-chicken or by calling (479) 777-7477.

Perfect Crime

Off-Broadway, Play October 20, 2025 Leave a comment

In a secluded stately home in the Connecticut woods, a married team of well-educated psychiatrists uses psychodrama to help their troubled patients work through trauma.  One night, their cook witnesses a young redhead murdering the husband.  A handsome police detective is called to the scene.  The therapists claim it was merely a client acting out a dream.  A series of clues to the truth are dropped over seven scenes representing a single week.  This is the set-up of Perfect Crime, an Off-Broadway mystery with a record-breaking run.  So why is this production still so unsure of its storytelling capabilities that each audience member is handed a 17 point solution sheet upon exit?

The viewing experience begins cleverly enough.  The comfortable lobby centers on a massive mugshot board with a bucket of props beside it for taking selfies.  Tips for committing the perfect crime are hung on the the pillars around a welcoming bar offering an array of theme cocktails.  The producers have thoughtfully paid for Wordly, a translation and caption service that can provide the play’s dialogue in a number of languages.  

Upon entry to the 194 seat house, one sees an authoritative set designed by Jay Stone dressed with Neo-Gothic furniture and leather bound books.  Other creative elements could use an update.  An intricate brick mural that provides a critical plot point has become dull with time.  A talk show clip obviously filmed years ago no longer fits the time frame.  Musical cues, though significant to the plot, are loud enough to intrude on conversation and an important recorded message has become garbled.  

Playwright Warren Manzi, a Yale School of Drama graduate, wrote the original script for Perfect Crime when he was only in his mid 20s.  Reviews at the time indicated it was too complex to absorb, so he continually refined it.  Mr. Manzi’s legal counsel is executive producing the current run.  The piece still begins with a stereotypical phone call in a storm, but this is quickly revealed to be part of a therapeutic reenactment.  Along the way, there are several of these unusual, even sophisticated elements.  

It is the performance of Guinness Book of World Records holder Catherine Russell as famed therapist Dr. Margaret Thorne Brent that makes this playful mystery descend into rubbish.  Lines are ejected from her mouth without any differentiation, as if written as a single run-on sentence.  She never genuinely reacts to any of her scene partners, a basic tenet of the craft.  Her physicality is equally hasty.  For example, when her character juggles multiple phone calls, she often forgets to press the hold button on the phone until she has spoken several sentences to the incorrect person.  I found references to Ms. Russell’s somnambulism dating back at least three years.  The Show Score — usually an enthusiastic measurement — stands at equal parts positive and negative.  She may pride herself on only missing four performances over the years, but in all the important ways she has stopped showing up.

The rest of the cast, most of whom are making their Off-Broadway debuts, struggle along with what they are handed.  David Butler is the most successful as the multi-layered W. Harrison Brent.  Taking on the role of the bored and probably alcoholic Inspector James Ascher is a charming Adam Bradley.  I had the pleasure of seeing Mark Epperson — understudy for all the male roles — as Lionel McAuley, a particularly unhinged yet clever patient of Margaret’s. Seen only on video, Patrick Robustelli plays talk show host David Breuer.  

Catherine Russell was a treasured member of the theatrical community.  Her image was captured by famed illustrator Al Hirschfeld. She was a lead producer of the legendary revival of The Fantastics.  Her proceeds were used in part to build The Theater Center which houses Perfect Crime and several other stages that can be rented out for daring works in development and entertaining parody musicals.  Why, in a time when theater is under threat and yet remains filled with energetic talent, has she chosen to turn in a thoroughly careless performance devoid of heart? That, my dear readers, is perfectly criminal.

Perfect Crime is playing at the Anne L. Bernstein Theater at The Theater Center, 120 West 50th Street. Seats purchased through numerous discounted services are assigned by the box office, which stuffs the first few rows of the low raked house.  Performances are evenings Thursday – Tuesday with matinees on Saturday and Sunday. Running time is about two hours with the intermission.  A detailed plot is available on Wikipedia, which would add greatly to your ability to follow along with the curveballs. For more information, visit https://www.perfect-crime.com.

Triplicity

Off-Broadway, Theater Event October 16, 2025 Leave a comment

Talking Band has been generating their unique brand of performance art for more than 50 years.  Last year, they received a Lifetime Achievement Obie Award for their whimsical thought provoking body of work, which includes Painted Snake in a Painted Chair (2003), Panic! Euphoria! Blackout (2010), and Shimmer and Herringbone (2024).  Their latest creation, Triplicity (rhymes with simplicity), fills their singular mold with its poetic storytelling, musical interludes and distinctive movement. Written and composed by founding member Ellen Maddow, it follows three people whose lives fleetingly touch as New Yorkers often do.  Adding a score to their communion is an attuned street performer stationed near the West Village Path train.

Anna Kiraly’s staggered set is suggestive of distinct yet related households, with welcoming doorways and windows that are more light display than light admitting.  A small projection screen stage right provides a musical title for each scene.  The only pop of color is behind the musician who is aptly named  Calliope after the muse of epic poetry.  The character is brought to blazing life by the one-of-a-kind El Beh, a performer with too many hyphens to list.  Costume designer Olivera Gajic has likewise saved her most vivid selections for this unique goddess, at one point reminding us they are the key by dressing them in keys.  The lighting design by Mary Ellen Stebbins by turns unites and divides the characters with cool pools.  

Though small, the cast well-represents the broad range of generations, appearances, and sensibilities of a New York City neighborhood.  The first resident we meet is Frankie, a retired bookkeeper played by Talking Band regular Lizzie Olesker.  At first she shrugs off her days as repetitive and grey, but they take on definition with each recounting.  Next we are introduced to an empathic budding non-fiction writer, an exuberant Amara Granderson.  Rounding out the unlikely trio is an exterminator from Bay Ridge with a soft spot for bee hives.  Steven Rattazzi’s rendering is so genuine, one could reasonably expect him to change into work overalls and grab a bag of sticky traps post-show.  The triad is doing its best to give each day a purpose and act responsibly.  With choreography by Sean Donovan and Brandon Washington augmenting Artistic Director Paul Zimet’s stage direction, the stories flow one to the other with phrases and key words echoed by Calliope’s dramatic accompaniment and wardrobe.  As Frankie often says, “That’s all; that’s it.”  But often that’s more than enough.

Steven Rattazzi and Amara Granderson in Triplicity; photo by John David West

Triplicity is a quieter piece than some of the Talking Band’s more overtly political work.  But it’s as diverting as a warm afternoon in Christopher Park.  The plot’s interlacing threads work as a reminder that ultimately we are in this life together.  The limited run is at Mabou Mines, a comfortable six row house at 122CC, 150 First Avenue between 9th and 10th Streets.  The performance schedule is Mondays and Wednesdays – Saturdays at 7pm with matinees Sundays at 2pm and an additional 2pm performance on Saturday, October 25. Running time is 70 minutes without intermission.  Tickets are $30/$40 and available for purchase at www.talkingband.org/triplicity.

The Glitch

Off-Broadway, Play October 9, 2025 Leave a comment

In a world in which AI has seemingly infiltrated every aspect of life, it is not hard to imagine a lab like the one featured in Kipp Koenig’s The Glitch.  “Future Child” allows want-to-be parents to interact with DNA-based projections of their teenage offspring.  The technology orchestrated by Aurora — an AI combination therapist and diagnostic program — is still a work in progress.  The simulation developed for their ninth client hit a raw nerve and resulted in an unanticipated traumatic reaction.  After a great deal of upgrading and testing, company founder Wyatt and his more cautious second in command Wendy feel prepared for client #10.  But when she turns out to be a woman from Wyatt’s past, the outcome of If/Else commands becomes even less predictable.  

Though the question of whether AI is capable of improving our quality of life drifts along in the background, front and center are more approachable and relatable topics.  What parent isn’t terrified of giving birth to someone who might not be “good” in the way they envision?  What child doesn’t say something hurtful in haste or engage in a rash act of rebellion?  And who hasn’t experienced that moment of horror when the sound of their parents comes flying out of their own mouths?  

Koenig has clearly drawn from his years working in technology to concoct the plausible atmosphere of a visionary and delicate start-up.  Scenic design by Josh Oberlander featuring hospital-white blocks and levered doors gleaming under Zack Lobel’s bright florescent lighting accompanied by Philip Glass-y music brings us right into the scene.  Director Mark Koenig (no relation) makes clever use of the aisles to expand the movement of the highly conversational script. Though there are a few too many short cuts in the plotting, they are necessary for squeezing all the required thought and sentiment into a tight 100 minute package.

Danielle Augustine and Jacquie Bonnet in The Glitch; photo by Thomas Mundell

As Hailey the holographic daughter, Hannah Rose Doherty is a revelation, striking the perfect vocal tone of a tween at once loving and frustrated.  At times she was little more than 3’ from me.  Covered in silvery sparkles, she remained engaged and reactive: physically exploring her “projected” body, flipping her hair before she was given arms, and quivering with excitement as she was allowed to develop.  The comic relief lands primarily in the feet of Jacquie Bonnet’s Wendy.  Both the actress and the character deserve a more meaningful domain given the story arc.  A grounded Sunny Makwana brings warmth and the right touch of neurosis to the Omar Sharif-loving Wyatt, providing sufficient credibility to the string of coincidences in the story.  This makes for a less persuasive connection with Danielle Augustine whose Amy sounds forced.  To be fair, the actress is challenged by prolonged interaction with a disembodied voice and having to express a complex emotional life based on falsehoods.  The commanding presence of Aurora is given breadth and wit by Amilia Shaw, who takes a well deserved bow with the rest of the three dimensional cast.  

At a time when so many playwrights are exploring current events with fear and loathing, it’s refreshing to see playwright Koenig take a different path.  The Glitch proposes that with kindness and compassion tempered by a dose of healthy skepticism we are still capable of doing good for one another.  You can experience this for $50 ( $70 if you’d like to increase your support to premium level).  Performances are 2PM Wednesdays, 4PM Fridays and 6PM Sundays.  The limited engagement at The Theater Center, 210 West 50th near Broadway, ends November 2nd.  Visit https://theglitchplay.com/ for a sneak peek and purchasing information.

This is Government

Off-Broadway, Play September 17, 2025 Leave a comment

There is a mighty fine line between “timely” and “too close to home.”  No one at 59E59 could have predicted that Trump ally and conservative activist Charlie Kirk would be shot and killed a few days after This is Government began previews.  But the horrifying uptick in our political violence had to be on the minds of everyone watching a play about a bomb threat taking place outside a Washington D.C. Senate office building.  While Nina Kissinger has infused her dark subject with humor, it feels too gracious to meet the brittle moment.

Scenic designer Daniel Allen sets the scene within an off-kilter office.  To serve the direction, file cabinets are piled across the back in a staircase formation and the third desk floats chairless mid-stage.  Within these strange walls are the interns for Senator Bachmann whose vote will determine the fate of a critical healthcare funding bill.  Rudderless and crippled by anxiety is recent college grad Emi (Kleo Mitrokostas).  One year younger, Tip (Charles Hsu) is four times more interested in influencing the world through his monologues than within the bureaucratic structure.  Their supervisor is former intern Kaz (Vann Dukes), a non-binary pragmatist with political ambitions of their own.  The three have been receiving regular calls from Stevie (Susan Lynskey), whose pleas to speak with the Senator have grown increasingly frequent and agitated.

Mitrokostas and most of the creative team are resident artists of the New Light Project which co-produced with Pendragon Theatre.  Director Sarah Norris has done what she can to mine the script for variation, but a regular rhythm sets in quickly.  Tip attempts to lead the way with dramatic flair and a touch of recklessness driven by his romantic world view.  Draped in mismatched navy business casual (Krista Grevas, Costume Design), Emi follows with apprehension and self-doubt.  At intervals, the passage of time literally ticks by (Jennie Gorn, Sound Design), the lights flicker (Hayley Garcia Parnell, Lighting Design), and someone climbs the cabinets to move the clock hands forward (Yasmyn Sumiyoshi, Movement Direction).  There surely was a more impactful way to illustrate the “real-time consequences” that should be driving the action.

Kleo Mitrokostas and Charles Hsu in This is Government; photo by Burdette Parks

Much of the opening banter is character background and a the building of a familiar framework of government by bluster.  When Kaz surrenders to Tip’s plan, the plot takes on more elements of a detective procedural.  But Kissinger hasn’t so much dropped breadcrumbs as built a pullman loaf walkway.  There is less talk of fueling political change than there is of understanding the bomber’s motives.  The serious exploration of meaningful themes is obscured by broad comedy and near absurdism.  The fates of our would-be heroes feel underdeveloped and ultimately unearned.

Nina Kissinger is a distinguished voice in new generation of playwrights. But though it has been only three years since This is Government won the Agnes Nixon Playwriting Festival at Northwestern University, the political landscape has shifted sharply and is less supportive of her message.  At the performance I attended, nearly half the audience was under 30.  In her curator’s note, Artistic Director Val Day says she hopes these Gen Zers will hear this piece as a call to action.  I sincerely hope they do, even if it’s to gather for another shared experience at live theater.

This is Government is playing in Theater B at 59e59 Theaters, 59 East 59th Street in Manhattan.  Tickets are $44 and available at https://www.59e59.org/shows/show-detail/this-is-government/.  Running time is approximately 85 minutes without intermission.  Content is recommend for those 14 and up.

The Lights Are Bright Off Broadway

Off-Broadway, Round-up September 3, 2025 Leave a comment

The New York theater scene is most often associated with Broadway, but there is a diverse audience that actually prefers to head Off-Broadway.  (I count myself among them.)  The descriptor has nothing to do with location, but rather the number of seats — between 100-499 — making for a more intimate shared experience.  Not needing to attract as large a crowd or pay sky high production costs allows tickets to be offered at relatively budget-friendly prices. Additionally, themes are often more daring: speaking to the issues of our time with an unexpected voice.  Many works are brand new, possibly even still evolving.  However, most runs are just a few weeks long, so here are a few to keep on your radar.

The six performances spaces of Theatre Row have welcomed a number of smaller companies from Pan Asian Rep to the community minded Keen Company as well as played host to the country’s largest celebration of monologues, United Solo. Now playing through September 29 is Sober Songs. With a score comprised of a range of musical styles, this dark comedy by Michael Levin tells the story of six young adults who meet at a local AA group.  Emotions flow from carefree and charming to raw and deep, much like the recovery process itself.

Housed in the Theatre at St. Jean down a flight of stairs on an Upper East Side side street is The York Theater.  Founded by three theater professionals over fifty years ago, their focus is on new musicals and lost gems.  This fall season begins on Tuesday, September 9, with the World Premiere of This is Not a Drill.  The script was inspired by the experience of Holly Doubet in 2018 when a false alert went out to residents and visitors that there was an missile attack headed for Hawaii.  The book is by Doubet and Joseph McDonough with music and lyrics by Doubet, Kathy Babylon and John Vester. 

Also calling a church home is the Theatre at St. Clements.  Nestled in the heart of Hells Kitchen, this steep venue has launched new works by David Mamet, Terrence McNally, Sam Shepherd, and Julie Taymor among others.  Beginning September 5th, the storied tradition continues with False Steps, a ballroom comedy written by dance champion Candace H. Caplin and Kim St. Leon, with original music and lyrics by Jesse Corbin.  Starring Caplin, this farcefollows a floundering playwright whose life takes an unpredictable turn when her recently widowed mother falls for a much younger ballroom dance instructor. 

Positioned firmly on your funny bone is Asylum NYC which offers stand-up comedians, sketch and improv troupes and musical reviews.  Beginning on Wednesday, September 17, performances of Exorcist: The Rock Musical will be followed by the Slam Frank.  With a score by Andrew Fox and a book by Joel Sinensky, this satire is perfect for those who think South Park doesn’t go nearly far enough.  Inspired by a truly bonkers provocative tweet, the Afro-Latin hip-hop musical puts the story of Anne Frank through a pan-gender, feminist, multiethnic lens to create a work that has already sparked spirited conversation.  

Long before finding household fame in Law & Order, Jerry Orbach starred in the long-running Fantasticks.  Now the black box where the revival played on the third floor of  The Theater Center bears his name.  (A smaller space honoring his wife sits across from it.)  The chairs in the Orbach feel like the sectional you should have replaced last year and the A/C is cranked to an 11, but the staff is welcoming and there are no bad seats.  Recently, it’s been home to both The Office and Friends parody shows.  But more progressive works are scheduled in between the comfort food.  Starting on September 24 on Wednesdays at 2 pm, Fridays at 4 pm and Sundays at 6 pm is Kipp Koenig’s The Glitch. This timely sci-fi dramedy uses a woman’s visit to an AI simulator lab to explore life decisions, emotional connection, and the interdependence of love and forgiveness.  

These are just some of the spaces offering risk-taking, thought-provoking, conversation- stimulating theater… and that’s just September!  So consider enlivening your entertainment line-up with something brand-new and uniquely theatrical.

Sulfur Bottom

Off-Broadway, Play August 31, 2025 Leave a comment

Recently I took a tour of the history of New York City’s electrical system.  Most of the infrastructure had been placed in marginalized neighborhoods.  That this is not new news made it no less distressing to witness.  These projects are essential for supporting modern day conveniences, but it’s always at the expense of those with less money and power to push them into someone else’s backyard.  

That lack of equity is at the heart of Rishi Varma’s Sulfur Bottom.  But this is not an “issues play.”  Instead, by blending naturism with otherworldliness, playwright Varma has crafted a bewitching modern day folktale.  It may be as ugly and bloodstained as the rug featured in the central family home, but it’s centered.  Resonant themes of familial connections, hard-won second chances, and the importance of home are woven in.  This distinctive approach draws in an audience that might not listen otherwise.  To make an even more meaningful point, the production has partner with WE ACT for Environmental Justice (https://weact.org/) for their Off Broadway run.

Director Megumi Nakamura has done an incredible job of pile driving down to the bedrock of emotions underlying the sophisticated, fantastical plot.  And we are surrounded by sound and sight cues that keep us “in it” with the characters. Each revelation comes with a musical theme (composer Jacob Brandt).  The location of the house in question is on land so polluted the house literally groans in pain (sound design by Sid Diamond).  Even the flowered wallpaper and aforementioned rug are slowly poisoned (set design by Daniel Prosky).  The overhead lights saturate the space in appropriate jaundice-yellow tones (lighting design Sam Weiser).  While there is no olfactory component, it’s easy to conjure up the corresponding odor of decay.

Of course it is the cast that lures us in.  There is tension between Sir Cavin (Kevin Richard Best) and his teenage daughter Fran (Kendyl Grace Davis).  She has killed [another?] deer which is now lying on a cutting block near their much-disliked rug.  It’s clear their conversation about the circle of life has been playing on repeat.  Sir Cavin’s belief in this interconnection has been his North Star.  But Fran finds the animals that surround them both noisy and dangerous.

Joyah Dominique, Feyisola Soetan (foreground) and Kevin Richard Best in Sulfur Bottom;
photo by Austin Pogrob



Also in the home is Sir Cavin sister Melissa (Joyah Dominique).  Though she once hoped to move to San Francisco to be a performer, she has resigned herself to keeping a watchful eye on her niece.  As the piece drifts back and forth through time over the course of 40 years— sometimes spanning two decades simultaneously — we meet Fran’s husband Winter (Eric Easter) and daughter Maeve (Feyisola Soetan) as well as Sir Cavin’s friend Copal (Aaron Dorelien) whose ambition perverts the course of their lives.

Performances of Sulfur Bottom are Wednesdays at 7:30 and Saturdays at 1:00 at The Jerry Orbach Theater, 210 West 50th Street, 3rd Floor.  Tickets are available through October 11 at https://www.sulfurbottom.com/.  The shallow venue is ¾ round with well loved seats and over-achieving air conditioning.  A colorful beverage from the bar might add to your feeling of joining the characters in their living room.  

If the ancients had spun a tradition myth about the spirits of environmental justice, it would share DNA with Sulfur Bottom.   It is a cautionary tale, but told with warmth, love, and a touch of humor.  We all want a better life for our children.  But some have a whale of a chance of making it happen.

Road Kills

Drama, Off Off Broadway August 19, 2025 Leave a comment

In art as in life, there is captivating drama to be mined when mismatched strangers are thrown together by circumstance.  So it is in Sophie McIntosh’s Road Kills currently in an Off-Off-Broadway run after a well-received series of readings.  Owen (D.B. Milliken) runs a small company responsible for collecting the carcasses of animals who have been hit by drivers too distracted to notice or care about the deer crossing sign.  He picks up extra money by taking on assistants who are working off their community service hours.  The current pair of hands belongs to Jaki (Mia Sinclair Jenness) who was arrested for drunk driving.  There is a spilling of guts along with the gut spills.  Together each Saturday on relatively deserted stretches of highway in Wisconsin there is little to do but pry open each other’s long-closed emotional doors. 

Mia Sinclair Jenness and D.B. Milliken in Road Kills; Photo by Nina Goodheart

Though some of the details are telegraphed, for the most part McIntosh’s biting script keeps us unbalanced.  With a title like Road Kills, it is unsurprising that the content has a high “ick” factor.  Warnings can be found on the production website in two flavors: “broad strokes” and “gory details”.  In the current space, everything is up close and deeply personal, but there is some sweetness mixed in with the ewwww.  

Since I prefer my readers to have the experience of allowing a play to unfold, I will only say that Owen’s and Jaki’s peculiar relationships to animals goes beyond their handling of mangled body parts.  Though their experiences as social outliers are dramatically different, the result is a similar inability to connect with humans in a traditionally healthy way.  Their expression of sexuality would likely be found in the DSM-5.  Protective reflexes are particularly askew in Jaki’s dealings with Neil and Miles, both portrayed by Michael Lepore.  (That the two characters look similar is a serendipitous plot enhancement.)

As staged by director Nina Goodheart in the three-row venue, the meticulous attention to detail heightens the intimacy of the performance.  We are seated at set designer Junran “Charlotte” Shi’s double yellow line where a dead fawn lies surrounded by dark red spots that are revealed to be frozen blood.  Passed-its-peak shrubbery lines the upstage side of the road.  Unlike most crews, stage manager Damayanti Wallace and team work silently in total darkness to set each scene.  From the black, the prerecorded voice-over cast of 11 depict the events that lead up to an accident, with each incident being an escalation of the previous one.  Lighting designer Paige Seber and sound designer Max Van add realistic sensory input.  Sean Frank’s props range from tragic to amusing.  While some audience members laughed though the disconcertion, it was the craftsmanship and care that I found comforting.  

Produced by McIntosh and Goodheart’s Good Apples Collective alongside ryan duncan-ayala, the twisted ride of Road Kills continues through September 6.  Runtime is approximately 85 minutes with no intermission.  Performances take place on the second floor of the Paradise Factory, 64 East 4th Street in New York.  Masks are strongly recommended and provided at the check-in desk.  The A/C is an overachiever and a sweater will come in handy.  Tickets begin at $18 and are available at https://www.goodapplescollective.com/road-kills.  

5th Annual Little Shakespeare Festival

Festival, Off Off Broadway, Shakespeare, streaming August 5, 2025 Leave a comment

Looking for an escape from the heat? the smoke? the world?  I can recommend a bite-sized treat: the 5th Annual Little Shakespeare Festival.  Each year playwrights take stories and themes from The Bard and spin them in a humorous/soul searching/topical direction.  This year’s selection of ten productions was curated by Conor Mullen based on the prompt “Not Your English Teacher’s Shakespeare.”  They include three Hamlet-inspired pieces.  A farcical Hamlet: La Telenovela is adapted by Federico Mallet, translated by Jose Ruano, and presented by Something From Abroad.  Events retold from the prospective of the theatre troupe unfold in The Mousetrap, or Prince Hamlet wrote a dumb play and now we have to do it written by Margaret Rose Caterisano and presented by Broomstick.  And comedian Rachel Resnik begs you not to laugh at her solo performance Hamlet’s Dad: Otherwise Known As The Daddy Issue’s Cycle presented by Serious Play.

The venue at UNDER St. Marks is not fully accessible, so the good folks at FRIGID New York have live streams available for purchase. This is how I was able to giggle from my couch at As You Wish It or The Bride Princess or What You Will.  The feed is supplied by two cameras, one in the back row and one audience right and closer to the stage. The audio is good quality and you can even hear the etherial music that plays as the audience loads in. The hilarious introduction by the house manager is not to be missed. It’s such a small theater that it’s a similar experience to arriving just before curtain and grabbing whatever seat you find.

As You Wish It etc. is billed as a parody, but it struck me as more of a love letter.  Presented by Fork the Odds Productions, the beloved William Goldman book/movie has been transposed into Shakespearean English by Michael Hagins.  Dialogue from Hamlet, MacBeth, Romeo and Juliet, Taming of the Shrew, and Richard III is comfortably intertwined with all the favorite lines and plot points from Rob Reiner’s classic.  It was wonderful to see that over 30 years later the over-the-top tale of true love still has such loyal fans.  With every long introduction by the revenge-seeking Count and “inconceivable” the audience roared with appreciation.  If it’s been a while since you saw the original, a quick review of the dense character-filled storyline will aid your full enjoyment. 

Rather than covering up the obvious shortcomings of enacting an action film on a tiny stage, the company leans into the insanity of even trying.  A roll down the hill becomes a balletic twilling through curtains, a knock out punch is prefaced by grabbing a small wrestling mat, and a chase on horseback is mimicked with Python style coconut shells.  The sword fights are brilliantly choreographed in slow motion.  The actors physical humor is enhanced by inexpensive, well designed props.  Synchronized sound effects heighten the laughs. Tickets are still available for the August 8 and 9 performances.

As You Wish It is among the offerings at the 2025 Little Shakespeare Festival; Photo by Michele Santomoreno

There is a timelessness to Shakespeare’s themes and relationships that opens his works to seemingly endless variation.  The Little Shakespeare Festival puts a spotlight on particularly clever revisions all presented by independent companies.  The fun continues through August 17.  All live performances take place at UNDER St. Marks (94 St Marks Place) and tickets are $25.  Streaming tickets are $20 for a live feed (so no late seating even at home.) To view the full schedule and to purchase advanced tickets visit www.frigid.nyc.

Polishing Shakespeare

Off-Broadway, Play July 30, 2025 Leave a comment

When you hear the premise of Polishing Shakespeare — Dot-com billionaire, Grant, is bestowing generous grants to a team of eager writers prepared to translate the entire works of The Bard into *English*— it is easy to picture the original ten minute skit.   What is impressive is the full length skewering of the dangerous shifting landscape of the arts that the script has become.  Given the events of the last six month, it’s almost as if playwright Brian Dykstra is writing in real time.  And he’s doing so in iambic pentameter!  (In fact, the actors’ improv skills are all so sharp that actually did happen during the performance I attended.)

The clawing back of money for the arts from the current administration forms a solemn backdrop for this timely comedy.  Though it makes its point numerous times, the exaggerated set-up is moved forward by three characters, each with a strong motive.  Grant (silver-tongued playwright Dykstra) doesn’t want to have to think when he attends a live performance.  He sees his project as a way to make Shakespeare entertaining for the masses, ignoring, of course, that Shakespeare has been just that for hundreds of years.  Ms. Branch (a beautifully tightly wound Kate Levy), the company’s director is just trying to be financially responsible now that she is almost completely reliant on her board for funds.  And though she genuinely loves and appreciates the Folio, Jane (a brilliantly bold Kate Siahaan-Rigg) sees a way to use her acute observational skills and talent with a pen to get out of crushing debt.  Alliances shift as each seeks an opportunity to move closer to their goal with the help of one at the expense of the other. It becomes such a battle of wits, you can almost see the gleaming sabers.  

Brian Dykstra and Kate Siahaan-Rigg in Polishing Shakespeare; photo by Carol Rosegg

What makes the piece sparkle is the spirited speed with which the lines are delivered.  Only someone completely comfortable with Shakespeare could set the necessary tempo with wink-and-nod style.  There is an ease to Dykstra, who has not only performed roles in numerous productions of the real thing (King John, Much Ado About Nothing, Twelfth Night, and MacBeth among others) but also participated in Season 6 of Mos Def’s well respected spoken word poetry program on HBO.  He plays with the audience like a cat with an amused mouse.  Siahaan-Rigg is a marvel, rattling off several sublime soliloquies that celebrate all those who have been exploited and marginalized by the mass market.  Levy navigates the intricate pathway between the stuffiness of her character and the humor in her lines.

Director Margarett Perry’ s assured hand highlights the flows of power.  Supporting the rapid fire exchanges is the strategic lighting by Tyler M. Perry who also designed the hilarious Shakespeare tchotchke-ladened set.  

Eliciting both belly laughs and tummy knots, Polishing Shakespeare has been extended through August 24.  Performances run approximately 90 minutes with no intermission.  The show is presented in Theater B at 59e59.  $44 full price tickets ($30 for Members) can be purchased at https://www.59e59.org/shows/show-detail/polishing-shakespeare/.