Maura Donohue reflects on the political relevance of La Mama’s production of “Pylade” in NYC and on tour in Europe.
Haley’s production fully commits to its fearless examination of the monstrosities of war, and offers an in-your-face look at the suffering women are subjected to on behalf of men.
DeLappe presents us with a wholly updated picture of youth, in which social awareness has supplanted willful ignorance. The competitive and constantly shifting pecking order within their social hierarchy remains ever brutal, but the battleground is changed. This, along with the fact that we see nine (and eventually ten) women on stage, is what makes The Wolves a unique signpost within the world of new plays.
Just Because You’re the First Doesn’t Mean You’re the Best, or “Get the Cheese Plate”: the Immensely Gratifying Return of THE BLACK CROOK
I sauntered into McSorley’s just as my phone jingled. Moe Yousuf was running late; the trains in Brooklyn were to blame. My eyes met Josh Gelb’s as soon as I looked up from my screen. He, too, had just read Moe’s missive. At the same
Somehow the party didn’t catch. Something better than a party followed.