Doublethink

Attention: you've got the rest of this weekend, and this weekend only, to catch Doublethink, by Rotozaza, at PS122, before this marvelously human exhibition vanishes from the stage. This double-blind experiment in trust, communication, and committment is absolutely thrilling, and even after the whole thing becomes a wonky avant-garde display, our two surrogate guest performers (on my night, Steve Cuiffo and Theo Kogan), are too innocent to make us feel as if we've been used or toyed with in any way. For all the instructions they're fed in private (or publically, for the first thirty minutes), they're still ultimately as much in the dark as us, and it's a thrilling Space Mountain-like ride for those of us willing to follow down the rabbit hole. And but so then plus, my personal commendation to Neil Bennun and Silvia Mercuriali for so smoothly operating that ride; I couldn't ask for better Mad Hatters and White Hares.

[Read on] [Also blogged by: David]

Sweet Love Adieu

Lion Theatre
Left at intermish.

note to self: your ADD makes you tune out Elizabethan verse.

Serendib

I've come to expect good things from Ensemble Theatre, and their latest presentation, Serendib (part of the First Light Festival), is a serendipitous gem. Using agile, arm-throttling puppetry (designed by Emily DeCola) and working off a wryly comic but intelligent script (about scientists and monkeys, no less!) by David Zellnik, this jungle-themed show is an engaging work of parallels between man and ape. The conclusion drawn--that "we all eat at the same banquet of fears and desires"--isn't exactly surprising, nor is the plot's presentation, but the puppets are great, and the fluid way in which Carlos Armesto has managed to have the actor leap from their human role to their monkey alter-ego makes for a theatrically promising evening. Plus: more puppet sex than Avenue Q -- and a monologue during one particularly vigorous rutting. Who can pass that up?

[Read on] [Also blogged by: David]

John Fugelsang's All The Wrong Reasons

Heads up!
I caught Fugelsang's one man show at New York Theatre Workshop last weekend and it's pretty darned special.
My review is here.
NYTW is offering discount tix below.
I say GO!


Tickets for all performances March 23 - May 6 are just $35 each (reg. $50).
Use code AWNYTW6 when ordering.
To purchase tickets, call TeleCharge at (212) 947-8844 or visit http://www.broadwayoffers.com/.

New York Theatre Workshop also offers both Student Tickets and CheapTix Sundays.

CheapTix Sundays: All tickets for all Sunday evening performances at 7pm are just $20 each! Tickets are available in advance but must be purchased at the NYTW box office on a cash-only basis.

Student Tickets: Full-time students with a valid student ID may purchase $20 tickets for all performances (subject to availability). Limit one ticket per ID. Tickets must be purchased in person and require an ID at the box office.

The NYTW box office is located at 79 East 4th Street (between Second Avenue and Bowery) and is open Tuesday - Saturday from 1pm - 6pm.

Prometheus Bound

photo: Richard Termine

Prometheus was bound to a rock for thousands of years. Theatregoers have an easier stretch of it at the Classic Stage Company's heavy-handed production of Prometheus Bound: just eighty minutes of monotony. I won't say that nothing has been done to mitigate the theatrically static nature of the centuries-old play - there is dramatic music that raises the pulse, and some interesting use of movement for the female chorus - but what has been done is not nearly enough. I spotted at least half a dozen fellow theatregoers snoozin' only a half hour in. The big news here is meant to be British actor David Oyelowo as the bound Prometheus, and while there is something to be said for the ferocity of the rage he sustains for the length of the play, I longed to see him in something (read: ANYTHING!) else.

The Pirate Queen

photo: Joan Marcus

**
Hilton Theater

It was kinda fun watching Jeff McCarthy, after so brilliantly playing the most sarcastic character in the history of musical theater in Urinetown, attempt sincerity while decked out in a Della Reese wig. The valiant trooper gives it his best shot as does everyone else (each also trapped in their own personal wig hells) in this musical that definitely looks and sounds like a Boublil-Schönberg but gives us neither the memorable melodies or invest-worthy book that made Les Miz and Miss Saigon work so well. All the homoeroticism, step-dancing, endless sword-play made this feel less of a high-stakes passionate epic and more of a cheeseball pageant attempting to capitalize on the Riverdance phenomenon. Is it good enough to secure a best musical Tony nom? Possibly. Depends on how good the wigs are in Legally Blonde and LoveMusik.