When Debra Ehrhardt was an 18-year-old secretary in Kingston, Jamaica, she bumped into a handsome CIA agent over a bowl of oxtail soup. With the help of the love-struck American, she decided to squeeze through the pinhole of opportunity and out of Jamaica. Her journey was blocked by many obstacles: an alcoholic father, a bible-spouting mother, the price of an airline ticket, and U.S. government suspicions.
Loosely inspired by Ionesco’s absurdist classic, The Chairs creates a post-apocalyptic world in which an old woman, portrayed by a 10-foot puppet, invites guests to hear an important message about the meaning of life. One by one, a collection of 25 chairs appears, each one a unique performing object with something important to say. Judith Malina (of The Living Theatre) stars. Skipitares' chairs are incarnations of people like Malala, Stephen Hawking and Nelson Mandela and their messages are, well, not absurd. Ionesco is himself a chair in this play, as are Gertrude Stein, Malala, Ai Wei Wei, Stephen Hawking and 25 others. Playing through June 8th.
Come see "Why Can't They All Be Like Johnny Depp: Comedy Short," directed by Jeffrey Hirschberg, at the NY Shorts Fest on May 27th. The New York International Short Film Festival (NY Shorts Fest) showcases the finest short-form cinema from around the world to enthusiastic audiences in the vibrant filmmaking enclave of New York City.
Architects Gordon Matta-Clark, Bill Owens, and James Howard Silvers' collective works represent a transitional period in American suburban life; a time when American consumerism was at its largest expansion and postwar suburban fantasy collided with the reality of gas shortages, "stagflation," and a growing unease with the isolation associated with "bedroom communities". The work of these artists and architects is part of a moment when conformity and the established order were being called into question on a mass scale as the "counter culture" movement of the sixties resonated with those affected by the faltering economy of the seventies. At carriage trade Gallery through May 18th.
Alone in Triptych, by Renee Philippi, presented by the Concrete Temple Theatre at HERE is an odd attraction for this temple of the avant-garde. Alone is a straightforward, beautifully acted trilogy of intertwining solos. The title is a bit misleading since each of the three characters is at all times addressing an unseen person, the object of their obsessive attention.
Clear as a bell I remember being taken to the Rivoli, a first-run movie palace on Broadway, to see the film Oklahoma! starring Gordon MacRae and Shirley Jones. Her freshness and lovely soprano was transporting. Seeing her so many years later onstage at the intimate, elegant Café Carlyle conjures the same thrill, her warmth and elegance filling the room. She began her show with a short video of her career, from musical theater ingénue to Academy Award winning prostitute to beloved sitcom mom.
Forget about life being like a box of chocolates! It’s the indefatigable Scott Siegel’s Broadway by the Year franchise that is full of tasty bonbons: classic Broadway numbers performed by extraordinary singers and dancers. Rather than focusing on just one year as usual, Siegel is presenting four programs covering 100 years of musical theater history, a marathon of songs given amazing interpretations by leading ladies and men. The first program took us from 1915 to 1939, heady years in the history of musical theater.
Seduction. Trickery. Power. Shakespeare's best comedy, Much Ado About Nothing will be running for a three week limited engagement beginning on February 21st. Full of wit, hilarity, seduction and trickery - this classic shows how love brings out the best and worst in us. Masquerade balls and mistaken identities leave you on the edge of your seat in this timeless battle of the sexes.
Although Bronx Bombers, about a particularly stressful period in the team’s history, isn’t an impeccably constructed comedy/drama, the show unapologetically hits the sentimental underpinnings that preoccupy macho sports guys and yet still shows that unalloyed machismo that is their public face.