“The Brothers Size” / The Ancram Opera House
IT’S A PLAY not a musical, but at one point, Oshoosi, the younger of the Size brothers, sings. He sings an old ballad called “Try a Little Tenderness.” (Oshoosi adds his own Baroque embellishments in the mode that black jazz and pop singers have made their own.)
It is a rare moment in “The Brothers Size,” a play by Tarell Alvin McCraney. At that moment, the character is joyous, free and persuasive, though much of his young life has been none of the above.
Oshoosi has recently come home from prison. At the Ancram Opera House, home has crooked wood slats and a crooked thrusting stage adorned with unidentifiable metal objects and two metal guardians of the homestead—who look surprised to be there. The set is a marriage of African folk art and American car repair. Read more…
“Ragtime” (the Musical) at Mac-Haydn Theatre
“RACISM!” TURN ON YOUR TELEVISION, open your computer news-feed, your newspaper. There find the word racism nearly in tatters from extraordinary repetition. It appears with subjects of the day: inequality, immigration, police brutality, hate, sassy and abused women, wealth, patriotism! America the beautiful. America the brutal.
In “Ragtime,” the same issues appear, but the show is not about 2019. It’s a musical set in the early twentieth century. The piece is derived from a big thick novel by E. L. Doctorow, musicalized by composer Stephen Flaherty, lyricist Lynn Ahrens, and book writer Terrance McNally. It played on Broadway in the late 1990s and won many awards. It’s entertaining, a sort-of history lesson served with a teaspoon of sugar.
Do today’s historical similarities suggest that we Americans are running in place? Growing, not stronger or more civilized, just more out of breath? In “Ragtime,” a number of famous people turn up (Booker T. Washington, Emma Goldman, Harry Houdini, et al.); however, it is mostly the loving unknowns who fight back against racism. Read more…
“Baskerville” / Theater Barn
“WHAT IS IT ABOUT?” If you’ve just finished reading a book or come from the theater, someone is likely to ask you that.
Ostensibly, “Baskerville,” currently playing at the Theater Barn, is about Sherlock Holmes and his friend Dr. Watson; and the title promises that the play will be some sort of adaptation or takeoff on Arthur Conan Doyle’s famous novel “Hound of the Baskervilles.”
While it is very smart theater economics for a playwright to piggyback on something famous when creating a new work, Ken Ludwig has ended up making “Baskervile” mainly about something else. Riding on the bones of a Sherlock Holmes story is merely a means. Read more…
“Curtains” / Mac-Haydn Theatre
THE MUSICAL THEATER composer John Kander is 91. We all know his “Cabaret” and his “Chicago,” but there are prolific Kander-years since, before and between. Many of those shows were built for extraordinary female stars (Liza Minnelli, Lauren Bacall, Gwen Verdon, and perhaps most of all, Chita Rivera.)
Kander has become the grand old man of musical creators, admired and beloved for smarts, dignity and old-fashioned human decency by the people who work with him. What does it mean that his main characters are often so bereft of those very characteristics? Witness the unsavory fame- and money-grabbers of “Chicago” and, most of all, the cold, revenge-obsessed woman (played by Chita Rivera) in “The Visit.” What attracted this composer to the pain, depression and sexual-abuse-trauma suffered by the main character in his 2015 show “Kid Victory”?
Now running at Mac-Haydn Theatre, “Curtains” (by Kander, Ebb, and Stone) is Kander’s 2006 musical about a theater company preparing a show called “Robin Hood.” The characters are something of a departure. Read more…
The Actors’ Ensemble production of Horton Foote’s “The Trip to Bountiful” at the new PS21 black box theater in Chatham includes Fern Sloan (Carrie Watts) and Joey Sorge (Ludie). The remaining performances are Saturday, June 8 at 7 p.m. and Sunday, June 9 at 2 p.m. Photo by Deirdre Malfatto
“The Trip to Bountiful” / PS21
ACTRESS FERN SLOAN of Actors’ Ensemble is on my “go see her in anything” list. This time she is Carrie Watts, an old woman flirting with end-days, trapped and plagued by daughter-in-law abuse. She feels compelled to escape for a last journey to Bountiful, the small, disappearing Texas town of her youth.
Sloan extracts meaning and personhood from all her roles. Beauty is hers too—from large wide-set eyes that live a long, narrow distance from her toes, to two big expressive hands in between. Beauty. And she doesn’t even need it.
The play is satisfyingly, appropriately slow. It is like lava pushing people down the mountain. They scrape against one another and comfort and listen to one another on the way. Read more…