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.”
Ah, yes, “Hay Fever” one of those plays that became known as “a comedy of manners.” But in truth Coward's 1925 hit really ought to be called a “comedy of ill manners.”
It's Coward's view of a famous family being famously, uproariously, ridiculously bad mannered to point of forcing the family's so-called “guests” to split, to sneak out of the house, to take any measures to get away from the family's self-regard, their “I really don't give a hoot for anything or anyone but myself” attitude.
It’s September, 1939 and the carnage of World War II is just beginning. Germany has invaded Poland. The British and their allies are preparing to fight. The world is on edge.
And, frankly, so are Dr. Freud and Professor Lewis, two of the great intellectuals of their time who are meeting in Freud’s office in England. But it’s not the Nazi war machine or the reluctant answer of its provocations by the British that’s under debate.
Yes, “Blackbird,” by Scottish author David Harrower, is a toughie. There’s no way around but to say that it focuses intimately, deeply on child molestation. It considers who was involved. It asks if whether both of its main characters – a middle aged man and a 12-year-old girl -- did not each suffer greatly. And, most tellingly, it offers no solutions.
Ah, yes, welcome back, “Cloud Nine.” Churchill’s play was a hit in certain quarters back there when the world as we knew it seemed to be tumbling onto a landscape that was unclear and wonderful and scary.
The play won an Obie, Off Broadway’s version of the Tony Awards. It was done around the country by risk-taking regional theaters including a crackerjack production in the 1983-84 season at what we then called the Trinity Square Repertory Company in Providence.