Womanhood, Or Something Like It

by Lucy Gellman | Jan 13, 2017 8:00 am

Elli Green Phoros From almost the very beginning of In The Red and Brown Water, which plays at the Yale Cabaret from Thursday through Saturday night, our protagonist Oya is running.

Locomotive arms lift and lower themselves behind her. Feet become percussive instruments, hammering into the stage. From all sides of her body comes a deep, collective breath, actors throwing themselves into movement as if to will her forward. It’s the only consistency of which she is totally sure as her muscled legs fly, trying to transport her to another life.

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Long Wharf Digs Into “Endgame”

by Brian Slattery | Dec 21, 2016 8:05 am

Kimberly Shepherd Photo The man in the chair can’t stand up. The man nearby, standing up, can’t sit down. They can’t go outside. There’s nothing there.

In the room with them are two trash cans. None of them leave. Can’t or won’t, it’s unclear. But they don’t.

All they really have are their words. And from the pen of Samuel Beckett, the Nobel Prize-winning playwright, novelist, theater director, and poet, what words they are.

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“Seven Guitars” Strikes The Right Chord

by Brian Slattery | Dec 7, 2016 2:00 pm

Joan Marcus Photos The actors march onto the stark stage in silence. They turn and face the audience and still don’t say anything, not until all have taken their positions. Then August Wilson’s language —  incantatory and rich with life —  bursts into the theater.

We learn that the five people on stage are returning from a funeral, reconvening in the backyard of a house in Pittsburgh. As they keep talking, it seems clear that they could be doing something else, or anything at all, dressed in their funereal finest. Maybe one could be loosening his tie. Maybe someone could be putting up coffee, or getting out beers.

But they don’t do anything; they just stand there. And it works.

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The Art Of The Steal

by Lucy Gellman | Dec 1, 2016 8:09 am

T. Charles Erickson Photos “There are three things that give you unconditional acceptance,” Larry “The Liquidator” Garfinkle tells the audience midway through Other People’s Money, on at Long Wharf Theatre now through Dec. 18.

One is dogs. The second is donuts. The third is money.

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You Might Recognize The Main Character

by Allan Appel | Nov 22, 2016 8:03 am | Comments (1)

Allan Appel Photo In 1989 former businessman turned playwright Jerry Sterner penned a huge hit about a rapacious corporate takeover specialist, Larry “The Liquidator” Garfinkle, a fast-talking, donut-and-bagel-eating New Yorker who takes over the New England Wire and Cable Company. Popular among Wall Streeters, It even earned the endorsement of a rising young real estate mogul named Donald Trump, although he invested no money — not even other people’s money — in the production.

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Writers, Griots Tellabrate

by Lucy Gellman | Nov 11, 2016 8:30 am | Comments (1)

Lucy Gellman Photo Nina Lesiga remembers when she realized that the chicken she was eating for Sunday dinner —  a little tough and chewy, come to think of it —  was in fact Vanya, once her grandmother’s favorite black-and-yellow plumed, softly cooing pet.

Thanks to a growing story-sharing initiative at the Institute Library, New Haveners now do too .

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