“…Many shows don’t hold up on a second viewing. This one does. Re-experiencing Huff’s tale of two Chicago beat cops caught up in a toxic tangle of crime, loyalty and protection is akin to rewatching one of the better episodes of TV’s ‘The Wire’ or ‘Deadwood.’” Chris Jones, Chicago Tribune
For its second outing in its [...]
For one weekend only, catch the Ithaca premiere of Macarthur Genius award winner Sarah Ruhl’s Late: A Cowboy Song, a whimsical romantic triangle that presents a fable of a young woman married to her grade school sweetheart, yet yearning for the open skies promised by a Pittsburgh cowboy/girl named “Red.”
Lithe and animated, Karen Pittman fills the Kitchen Theatre with a dozen or more characters as she brings to life playwright-actor Charlayne Woodard’s adolescence in Neat.
The Kitchen Theatre’s twenty-first season continues with a production of “Neat” a compelling one-woman show.
A dance and music collage titled “In The Company of Dancers,” Rachel Lampert’s new piece is framed as the reminisces of an older dancer, presumably retired, played with zest and customary wryness by the wonderful Norma Fire.
Inspired by E.M. Forster’s novel “Howards End,” “Ever So Humble” is a warm and witty comedy is a reminder that home and family are what we make them. An interview with artistic head of the Hangar Theatre and director of the play’s debut. By Luke Fenchel
Tim Pinckney’s re-imagining of the dilemma of “Howard’s End” dilemma is how, and where, will the middle class live? In an era of housing busts, deflating property values, and foreclosed mortgages, this question burns with just as much intensity and urgency now as it ever has.
“Mary’s Wedding,” which runs through June 26 at the Kitchen Theatre, has everything you’d want in a summer blockbuster: oversea adventures, grand romance, imaginary horses. A two-character study of epic love, the play, directed by Rachel Lampert and starring Ellen Adair and Eric Gilde, proves that anything is possible in love and war.
The Odyssey Works: New York piece, developed over several months of intensive research into all aspects of the main character’s life, will lead the protagonist all over New York, to public and private sites, and eventually out of the city and deep into upstate New York.
At first glance, it would seem as though the subject matter of The Tricky Part renders the play unfit for the faint of heart, but the Kitchen Theater’s thoughtful treatment of this one-person monologue evokes more contemplation than squeamishness. A review by Danielle Winterton