Theater

All Aboard The “Dream Train”

by Lucy Gellman | Jul 21, 2017 7:42 am

Lucy Gellman Scene: The city and the forest, once a single village, have been divided by a railroad that cuts through the land.

Scene: The two halves are now two municipalities. No trade flows between them. Families, then friends, lose touch. The city moves to protect itself with high walls.

Scene: All the trees are dying, one by one. The walls have severed their roots.

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Drag Queens Rake In Dough For A Cause

by Lucy Gellman | Jul 17, 2017 8:02 am | Comments (2)

Lucy Gellman Photo Climbing the 168 York Street stage, Kiki Lucia pulled at a noose hanging low around her neck, looking out at the audience with long-lashed, saucer-sized doe eyes. She jerked backward.  The noose loosened, and she broke free.

I’m aliiiiiiiiiivvvveeee, Sia belted from the second-floor balcony.

Kiki Lucia ripped open her blouse, exposing a heaving chest and two bright, sweat-slicked nipples, along with a message written in black: Trans rights now.

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Carnivores Ponder Life’s Meaning

by Lucy Gellman | Jun 16, 2017 7:33 am

Lucy Gellman Photo What are a shark’s most existential questions, and how can a particularly emotional lion help answer them?

In what universe can a quarter-dissolved marshmallow and a tutu-boasting hippo become problem-solving buddies and crusaders for environmental justice?

If a gummy bear and lamp-bound genie meet on a tropical island, will either of them get their wishes?

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“Black Girl” Kicks Up Dust, Memories — And Questions

by Brian Slattery | Jun 16, 2017 7:32 am

Christopher Duggan Photo Black Girl: Linguistic Play — running for one more night at the University Theater on York Street as part of the International Festival of Arts and Ideas — began Thursday with the bass, just Robin Bramlett and her instrument, laying down big notes. Pianist Scott Patterson joined her, laying down sweeping cascades of melody.

A lone dancer appeared on stage, exuding childhood, the sense of freedom, of not being sure what to do with her limbs and not caring. She tapped in her sneakers. She did the running man. And at last, she began kicking up chalk dust. It rose around her, still dust, but in the light, it looked a little like steam, too, or like smoke.

For just a minute, it seemed as though the dancer was tapping across the surface of a hot skillet. Like if she stopped moving, she’d be cooked. So the dancer’s exuberance had danger in it. Her joy was an end in itself. But maybe it was necessary for her survival, too.

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Hip Hop Oratorio “(Be)longs” At Long Wharf

by Brian Slattery | Jun 15, 2017 7:36 am | Comments (1)

Brian Slattery Photo On a recent evening, the cast of (Be)longing — an oratorio about the 2007 Virginia Tech shootings that draws from hip hop and opera and runs at Long Wharf Theatre as part of the International Festival of Arts and Ideas this Saturday and Sunday — was assembled in a rehearsal space in Hendrie Hall on Elm Street. Over a series of long pitches held by a group of singers, Hanifa Washington, assuming the role of mediator, maybe therapist, was asking the people in the room what freaks them out.

“Confrontation!” said one cast member. “Confrontation freaks me out,” the chorus sang in unison, in four ascending notes.

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Much Ado About Much At Mauro-Sheridan

by Allan Appel | Jun 8, 2017 12:05 pm

The Mauro-Sheridan Interdistrict Magnet School has one of the coolest science and technology-themed programs in town, complete with partnerships with spacemen and competitive robotics clubs.

An increasingly poorly kept secret is the growing prowess of its long-standing Shakespeare reading groups, which have led to The Mauro-Sheridan Shakespeare players’ annual production of a Bard play.

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Bard Vogues In Egypt At Yale Summer Cab

by Lucy Gellman | Jun 6, 2017 4:36 pm

Elizabeth Green Photos At the Yale Cabaret’s tiny basement theater on Park Street, something mystical was unfolding. A scarved, glitter-clad and turbaned soothsayer worked their hands around a glowing glass globe, looking into the future. In wide fishnets, shiny booty shorts and a pink tank top, Charmian begged for her fortune.

“Good now, some excellent fortune! Let me be married / to three kings in a forenoon, and widow them all: / let me have a child at fifty, to whom Herod of Jewry / may do homage: find me to marry me with Octavius / Caesar, and companion me with my mistress,” she cackled.

“You shall outlive the lady whom you serve,” said the soothsayer in a singsong, wispy voice.

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Summer Cabaret Makes A Splash With “Canon Balle”

by Donald Brown | Jun 1, 2017 10:16 am

“A classic,” Mark Twain once said, “is something that everyone wants to have read and nobody wants to read.” We assume we already know what the work says and don’t want to bother with it. But in the theater, a classic work simply won’t go away. It gets done again and again, in a kind of afterlife of endless revival. But why?

Rory Pelsue and Shadi Ghaheri, the artistic directors of this year’s Yale Summer Cabaret and both rising third-year directors at the Yale School of Drama, have devised a summer season that examines the status of theater classics. The season runs from June 2 to August 13 and is called “Canon Balle.” It celebrates classics, but may also be considered an offensive against those who want their classics untouched by contemporary interests. Think, for starters, Antony and Cleopatra in drag.

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