Sarah Stewart turns out oil-on-linen paintings in the factory complex that once turned out erector sets for the nation — and now New Haven’s zoning rules are catching up with the economic transformation there.
On the way home from seeing The Most Beautiful Room in New York, my wife Steph actually said this: “As a lifelong lover of musicals, I resented this. It is everything that people who hate musicals say they hate about musicals.”
What happens in a good production of a musical when the musical itself isn’t good? Beautiful Room gave us a chance to find out.
A steady rain couldn’t keep people away from ArtWalk, held in Westville Saturday afternoon. Though the neighborhood’s central streets were missing the usual crowds during the annual event, Edgewood Park stayed lively, and indoor activities in the artists’ studios in West River Arts and Lyric Hall on Whalley Avenue ensured ArtWalk kept its tradition of celebrating the arts — for 20 years and running — alive.
If someone says a play is “risky,” what does that mean? That it handles a taboo subject, that it goes against political orthodoxy, or that its staging is avant-garde in some way? Amy Herzog’s new play, Mary Jane — at the Yale Repertory Theatre through May 20 and directed by Anne Kauffman — is risky without any of those things being true. It’s risky in its willingness to be unsentimental, unsensational, and sharply observed while dealing with childhood illness and single-mom parenting. The risk is in how straightforward and untheatrical it is, and the satisfaction is in how clearly it fulfills its purpose.
The 13 local professional and non-professional actors performing in “Still Crazy After All These Years!” a new, touring festival of eight one-act plays, may all be AARP-eligible, but their performances deliver a message that busts stereotypes about their age group.
“It’s not all death, senility and arthritis,” said award-winning New Haven playwright, co-director, and co-producer Tom Coash.
(Opinion) The 20th anniversary tour of Rent, which played at the Shubert Theatre from Friday to Sunday, showed that — against a lot of odds — the 1997 musical about struggling artists in a vanished New York City still has legs.
When Peter Chenot saw Chrissy Gardner perform her work, her utter naturalness — an ability to tell a joke mid-performance and then continue or move into the next number effortlessly — convinced him she had also to be on stage in a major part as his Mary Swenson.