Results tagged “secondstage”

Edward Albee’s 1958 play The Zoo Story was a watershed moment in American theater, despite being ignored for two years by New York producers. Though the riveting two character play marked the arrival of a significant new American voice, it first premiered in Germany; not until 1960 was The Zoo Story performed in the U.S, and then not even in New York, where it’s set. Albee’s breakthrough one-act concerns a random, ultimately violent encounter between...

EVENT: Tonight Duncan Sheik (ah, we still remember when he sang "Barely Breathing" at the Peach Pit After Dark) and Steven Sater pair up for a Spring Awakening book signing. They will be joined from 5–5:30pm by Spring Awakening cast members Jennifer Damiano and John Gallagher, Jr., who will perform acoustic versions of two song selections from the show at the signing. 5 to 7pm // Drama Book Shop [250 W 40th St] // Free...

MUSIC: If you haven't checked out the Summer of Love exhibit at the Whitney, head over there after work and get a double dose of rock while you're at it. Tonight Dirty Projectors and Lucky Dragons take the stage at Whitney Live. Get there early to get in. Check out this "Take Away Show" in New York featuring the Dirty Projectors.

The Greek myth of Orpheus and Eurydice is the quintessential tale of love lost, nearly regained and then agonizingly lost again. When Eurydice dies on their wedding day, her musician lover Orpheus, "father of song", journeys down to Hades to rescue her. The man shreds so hard on the lyre they let him escort Eurydice back to the land of the living, with the caveat that she walk behind him the whole way – if he so much as sneaks a peek at his beloved before they reach terra firma, she'll be lost forever. Of course all this happened way before D.A. Pennebaker's documentary Don't Look Back was released; had Orpheus been familiar with that particular title mankind might have been denied one of the most heartbreaking love stories ever conceived, not to mention a moment of 'D'oh!' unrivaled by Homer himself.

EVENT: What do Bob Dylan and the Brooklyn Bridge have in common? They both get a year older today! Bob turns 66 and the Bridge turns 124. To help celebrate the latter, there's a bike ride across the structure. There will also be cake and historical stories to keep you physically and mentally satiated.

Wallace Shawn has long enjoyed a fruitful career as a character actor in mainstream movies (Clueless, Princess Bride, Chicken Little). He also happens to be one of the world’s most significant dissident writers. His plays The Designated Mourner, Aunt Dan and Lemon and The Fever – to name just a few – have garnered much praise (and controversy) for their unflinching examinations of brutality. Shawn’s plays are political but not polemical; through his writing he questions everyone’s complicity – liberal intellectuals especially – in the horrors unleashed out of sight and out of mind.

THEATER: The Scene, a black comedy by Theresa Rebeck that premiered at this year’s Humana Festival in Louisville, is now in previews at Second Stage. The satire is about an out-of-work New York actor (Spenser: For Hire’s Tony Shalhoub) — married to a news producer (Alien Nation veteran Patricia Heaton) — who has an affair with a fresh-faced Ohioan ingénue. Rebeck’s stated intent with The Scene is to skewer America’s “cultural collapse into narcissism”. - John Del Signore

MOVIE: Netflix Rolling Roadshow presents The Warriors. Watch the local turf wars play out on a big screen in Coney Island. Tickets are on a first come, first serve basis. And for some reason, Lisa Loeb is hosting this and there will be a Q&A following the movie.

It had been awhile since Gothamist was at Second Stage, so we were glad to find it in the excellent form we remembered with its latest show, a revival of Charles Fuller’s A Soldier’s Play. Fuller won the 1982 Pulitzer in drama for it, and was nominated for an Academy Award when it was turned into a movie (A Soldier’s Story), so we went in with high expectations, and fortunately those didn’t jinx anything. We can’t claim to be able to compare this production with the original, but taking the current one on its own terms, we thought the cast top-notch and the staging well-paced and just spare enough to ensure that the events at hand are clearly situated but not overwhelmed with extras. Those events, though technically in 1944 and being viewed from Fuller’s early 1980s vantage point, make the play’s central subject one that will, sadly, probably never cease to be current and pressing – racial divisions. The setting of Louisiana, so recently the real-life stage where the differences between African American and white people in this country played out, only heightens the awareness you have throughout that A Soldier’s Play is still painfully relevant on that level, but it’s also, and maybe above all, a highly effective dramatization of the struggle within the black community to determine which values are going to dominate and act as a cohesive force – something that is just as ongoing but not usually as high-profile, so Fuller’s addition to the conversation, and this strong revival of it, are all the more welcome.

With the massive arts listings in last Sunday’s Times, the new season officially got underway, although theatre fans have for some time been able to get at least some idea about the next year on stage, and not only the brand-name productions, via the estimable nytheatre.com. Still, poring over those inky pages and getting overwhelmed by the sheer bulk of what’s about to come our way has no real substitute, and we’re now particularly looking forward to October’s Massacre (Sing to Your Children), a dark psychodrama/mystery written by Jose Rivera and being produced by the LAByrinth Theatre Company at the Public; 4.48 Psychose, Sarah Kane’s very experimental final play which will be performed by Isabelle Huppert in French (also in October, it’s part of both the Act French festival and BAM’s Next Wave festival); the latest provocation from Les Freres Corbusier, Hell House, which from the Times’ description sounds like it will be a close reproduction of fundamentalist Christians’ method of scaring people into faith, though you probably won’t have to look too hard for the satiric element; and Douglas Carter Beane’s The Little Dog Laughed, a send-up of the pervasive celebrity gossip culture playing in December at Second Stage. We were also tickled to see that Martin McDonagh (writer of The Pillowman) and John Patrick Shanley (Doubt) will again go head-to-head with new plays next spring – Shanley’s Defiance at Manhattan Theatre Club and McDonagh’s The Lieutenant of Inishmore at the Atlantic. As the Times asks, why mess with success? The Pillowman’s imminent closing notwithstanding, both have been hits despite being singularly unsettling theatrical experiences, so maybe they offer each other mutual support, and maybe the new plays will find the same rapport. In any case, we’re excited.

Most theatres are busy prepping their new season�s premieres, and smart and cost conscious theatre fans are already booking shows they want to see for nothing � by ushering.