2nd Story Theatre in Warren has always liked to do off-beat plays and its current work, “4000 miles,” is no exception. Bill Gale says it's a little loopy, a little lacking in plot, but that it's also one of those works you'll think about days after you see it.
It was, of course, the poet Robert Frost who wrote that “Home is the place where …they have to take you in.” Well, “4000 Miles” is something of a recurrence of that idea.
A conservative approach to a classic play has rarely been the Trinity Rep way. Over the years full speed ahead has been more like it. That surely is the case with the theater's new take on “The Glass Menagerie.” Bill Gale says it works, except when it doesn't.
“The Glass Menagerie” continues at Trinity Rep through March 29th. Bill Gale reviews the performing arts for Rhode Island Public Radio.
February being Black History Month the Ocean State Theater in Warwick has brought back a 1987 play, “The Meeting.” African-American playwright and screenwriter Jeff Stetson brings together two major leaders who had very different ideas about improving the life and times of their fellow black Americans.
Dr. King, of course, developed a non-violent strategy. A minister with a Boston University PhD, he aimed to confront racism and violence strongly but without turbulence.
Pulitzer Prize winning playwright Donald Margulies once said that he loves “. . .smart, complicated women. . .”
Well, in just two hours (with an intermission) he lets us look in on two females who meet that criteria, and more. “Collected Stories” takes place entirely in the Greenwich Village apartment of one Ruth Steiner, an award-winning author/professor. She's sharp as a whip, tight as a drum and both prissy and provocative. Lives alone and likes it. Or at least thinks she does.
“Meet Me in St. Louis” is a charmer, a sweet, old fashioned, happy- go-lucky musical of the kind we just don't see anymore. It's filled with wonderful, if saccharine sweet, songs. It tells a tale of a family loving, and battling, and always coming through.
You know I checked out the history of “Dial M” before I went to see Ocean State's production. Found a 1984 New York Times review which said that the 30 or so years that had passed since its first showing had not dimmed the play's charms. Still crisp and quick, the reviewer maintained.
Being crowded together in tiny seats and dealing with an over-humid atmosphere has never stopped Festival Ballet's audience from filling the company's main rehearsal hall for “Up Close on Hope.” Showing a number of new works, the latest edition began last weekend. Bill Gale was there.
Yes, and I was happy to be there, too. But after seeing nine short numbers – some of them world premieres – I began to wonder if today's rising choreographers aren't a . . . little bit depressed.
Written by a relatively unknown but fast-rising playwright, George Brant, this play flies high in many ways. It begins with our heroine, called “The Pilot,” rhapsodizing about being, well, a pilot. A fighter pilot, that is. A different breed.
Gowned, if that's the word, in a droopy pilot's one piece flight suit rippled with zippers and great big pockets, she appears on stage to the roar of a jet engine and tells you of the wonders of high, blue altitude. She calls her F-16 fighter, “Tiger” and says “he” “can feel the sky in me.”