What: A troupe of five players improvise a ninety-minute play in iambic pentameter (ish), based on a suggestion from the audience, using familiar Shakespeare tropes, style, and structure.
And? A delightfully silly romp through Athens in "The Philosopher's Revenge."
What: Shakespeare Forum's centerpiece of its annual El Barrio's Shakespeare Festival, a re-examination and deconstruction of the tragedy in a variety of iterations and perspectives (Roderigo, Desdemona, Iago/Emilia, and finally Othello himself), with the performers switching roles for each iteration.
And? I know this phrasing isn't terribly helpful to outsiders, but I love how forum the last several Forum productions have been: leaning in to the unique qualities of individual performers to inform the characters portrayed, rather than trying to slot bodies into predetermined personality slots. It yields such heartbreaking honesty, such simple and clear work, and surprising new relationships. Of especial note here were the different colors visible in Iago, depending on whose lens he appeared in: the Alpha friend to Roderigo, bossy and athletic and confident; the kind if somewhat snarky ally to Desdemona, his duplicity never revealed; the man in the midst of a crisis, unsure of what is true or if everything is true, to himself (I had issues with this iteration, compelling as it was, with whether it is actually Othello; the other three were still Othello, if that makes sense); and the Puck-ish sidekick whose treachery is only at the last revealed, to Othello. I love the first half of this production (Roderigo and Desdemona) and had some issues with the second half, but I also knew that the Iago section had to break the pattern somehow, and was pleased that it did, and did it so thoroughly. Some final quick highlights: Ari Dalbert's heartbreakingly confused Roderigo meeting his death, and Antonio Disla's brash and charismatic Iago delivering his death blow, then leaving him to die alone; Kia Nicole Boyer was honestly my favorite Desdemona I've seen (she also made a good Othello in a later cycle), and I loved the honest love between her and Amara James Aja's Othello; Tyler Moss's precision and active presence as a performer: he's the kind of living actor we all want to be, reacting in the moment to the moment, alive and honest; a small moment containing a world of story: Sara Malinowski's Desdemona in the final cycle, approaching the curtained bedchamber, hesitating, just a moment, as if remember the devastation within those four posters in a previous life.
|Kia Nicole Boyer and Sara Malinowski as Desdemona and Emilia in the|
Desdemona cycle. Photo by Allison Stock.
What: TFANA presents Soho Rep's sold out production of Jackie Sibblies Drury's Pulitzer Prize winner, a play which seems to be about an affluent black family preparing a birthday dinner for the matriarch, but which turns into a fourth wall breaking chaos fest when it reveals itself to be about cultural tourism by privileged observers.
And? Honestly, it's best to know as little as possible about what's coming, if you're going to see this show so I don't want to spoil the content further, beyond saying that this is not the sort of theater that is interested in making the audience feel comforted or comfortable. This is an extraordinary bit of theater-breaking. Afterward all my companions and I could say at first was "Wow. Wow."
|Mayaa Boateng as Keisha in the original Soho Rep run. Photo by Julieta|