Dear Theatre Friends,
Now that Summer is fully upon us, the option to elude heat and humidity in the theatre is exciting, indeed.
A new play, the equivalent of a beach read, is “The Cottage,” a farce in the manner of Noel Coward and Oscar Wilde. Here’s a fine review from a previous production. It’s summed up as a “saucy send-up”!
If you’re looking for more serious fare, try “Unentitled” at 59e59. It’s produced by The Negro Ensemble Co, and written by Charles White. It’s described as a family drama– albeit one concerned with “internalized racism and class anxiety.”
Only until July 24th, “Notre Dame de Paris” is at Lincoln Center’s David H. Koch Theater.
The New York Times’ review hails its exuberance– a combination of Cirque du Soleil and Victor Hugo. In French, with super-titles–but you already know the story! Sounds like great fun, straight from Paris!
Another classic, although rarely seen, will be at Theatre for a New Audience this month. “Orpheus Descending” by Tennessee Williams, directed by Erica Schmidt, evokes the passions of two outsiders trying to escape their Southern Hell. I saw this with Vanessa Redgrave about thirty years ago and haven’t forgotten the heat,or the violence.
At New York Theatre Workshop, “The Half God of Rainfall” by Inua Ellkams, will be coming from England with excellent reviews. Here’s one from The Guardian when it was seen in Birmingham. It’s a co-production with American Repertory Theatre.
For nostalgic political enthusiasts, go to see Tony Award recipient John Rubenstein’s amazing performance in “Eisenhower: This Piece of Ground” now at St. Clement’s. Here’s a rave review of the D.C. production.
If you’d like to sample new writing, do go to 2nd Stage Uptown for “Toros”, which was culled from their New Writers’ Readings.
Lastly, LCT3 is presenting “Let’s Call Her Patty” at the Claire Tow Theatre, overlooking the reflecting pool at Lincoln Center– I love going early for a drink, and to drink in the wonderful view.
Both are inexpensive opportunities to champion burgeoning talent, and anticipate the playwrights’ futures.
That’s all for now; see you at the theatre!
Carol Tambor publishes a monthly newsletter, which announces worthy shows coming to New York, along with occasional information about London theatre and, of course, the Edinburgh Fringe.