Tag: The Clyde Fitch Report

Dreamy “Peter Pan” Grows Wild and Full of Bedlam

[article as originally published in The Clyde Fitch Report, November 21, 2017.] A new adaptation of J.M. Barrie’s 1904 play Peter Pan presented by the theater company Bedlam and running The Duke through Dec. 23, takes place within a soundscape of rain, waves and thunder claps. We’re safe in our theater seats as we settle into the frame of a bedtime story told

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In Broadway’s Gentlest Musical, Hope Strikes Up the “Band”

[article as originally published in The Clyde Fitch Report, November 12, 2017.] The wonder holds in The Band’s Visit, the musical dreamscape now on Broadway less than a year after an Off-Broadway unveiling that opened to rapturous reviews. Some wondered whether a show based on a 2007 film about a lost Egyptian military band that spends an unexpected night in a small

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He Said, He Said: “M. Butterfly” Takes Wing on Broadway

[featured image: Clive Owen and Jin Ha in M. Butterfly. Photos: Matthew Murphy.] Julie Taymor’s elegant revival of David Henry Hwang’s 1988 play M. Butterfly remains a nuanced, spare, evocative dreamwork. It tells the story of a diplomat’s illegal actions, a Chinese citizen’s pragmatic moves to survive, and it is, of course, a gender play that spoke to us in one

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The Home Place: Persnickety Plot Paralyzes Political Play

[article as originally published in The Clyde Fitch Report, October 11, 2017.] Sometimes a beautiful woman’s yearning gaze isn’t sufficient to hold a piece of theater together that has too many moving parts. Women offer those gazes, to varying effect, in two differently structured plays dealing with British and Irish historical stories that are now calling

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Advice and Consent: Nia Vardalos Finds “Tiny Beautiful Things”

[article as originally published in The Clyde Fitch Report, October 3, 2017.] Tiny Beautiful Things has returned in quiet triumph to the Public Theater after last season’s sold-out engagement in the tiny Shiva Theater. Co-conceived with Marshall Heyman and director Thomas Kail, actress Nia Vardalos adapted novelist Cheryl Strayed’s anthologized advice columns (“Dear Sugar”) into a play of small moments.

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Son to Forgive His Betraying Mother? Ask “The Treasurer”

[article as originally published in The Clyde Fitch Report, September 27, 2017.] What happens to a 13-year-old boy when his mother leaves the family for another life? “She left and poof, there went our family,” says our narrator, called Son (Peter Friedman), the abandoned adolescent now a middle-aged man. In a theatrical musing on mortality and the limits of

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“Mary Jane,” Mom to Chronically Sick Child, Gently Explodes

[article as originally published in The Clyde Fitch Report, September 27, 2017.] There’s quiet devastation in the all-female voices of Amy Herzog’s Mary Jane, now playing at Off-Broadway’s New York Theatre Workshop after a run last spring at Yale Repertory Theatre. Herzog’s play does explode, but gently, exposing life around the edges of achingly ordinary domestic details. Carrie Coon assumes the potent,

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Searching for a Shore, This Family Settles Into Silence

[article as originally published in The Clyde Fitch Report, September 17, 2017.] On the Shore of the Wide World, first staged in Manchester and London in 2005, is the first Atlantic Theater Company show of the 2017-18 season. with American actors edging into various regional accents and a British reserve. Playwright Simon Stephens, who has been embraced by Broadway

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“If Only”: Ann, Samuel, and the Love That Might Have Been

[article as originally published in The Clyde Fitch Report, September 6, 2017.] Stories about crossing class, caste and racial divides offer rich theatrical and cinematic possibilities. Far From Heaven, a recent example as a 2002 movie and 2013 Off Broadway musical, explores an American upper-class 1950s suburban wife and mother, her closeted gay husband, and her socially thwarted relations with

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Neglected Plays of Teresa Deevy Mints New Vaudeville

[article as originally published in The Clyde Fitch Report, August 28, 2017.] The title of The Suitcase Under the Bed is both self-effacing and self-referential. With this production, Mint Theater Company’s Artistic Director Jonathan Bank continues its commitment to staging, publishing and promoting the works of Irish playwright Teresa Deevy (1894-1963), who made a splash early in her career at Dublin’s Abbey

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