Dear theatre friends,
This month, Roundabout is presenting “Liberation” by one of my favorite young playwrights, Bess Wohl. It begins in 1970, jumps to 2020– and asks if women’s thoughts and fears have changed much at all?
Speaking of change– I can’t wait to see what brilliant Irish author, Mark O’Rowe, does with Henrik Ibsen’s “Ghosts”. Can anyone forget Mark’s tour de force, “Howie the Rookie“? I anticipate he’s injected some of the same energy into this classic at Lincoln Center.
The New Group is reviving Sam Shepard’s “Cure of the Starving Class” with a very starry cast– Calista Flockhart and Christian Slater are among the ensemble. Reading this New York Times 2019 review will either refresh your memory, or perhaps encourage you to see it for the first time.
If you think mother/child problems might be specific to you, do try “Conversations with Mother” for a bit of perspective. This depiction of an Italian matriarch and her gay offspring might be somewhat autobiographical, as written by Matthew Lombardo.
Winner of the most exciting title of the month, “On the Evolutionary Function of Shame”, is the newest offering of 2ndStage. By D.A.Mindell, it is presented as part of their Next Stage Festival, supporting burgeoning talent. Now, in their new location at Signature Theatre on 42nd Street.
To reiterate from my last newsletter:
St. Ann’s is presenting “Safe House” coming from Dublin’s Abbey Theatre, by the extraordinary Enda Walsh (“Once”). Here is the five star Guardian review. Buy tickets!
If you enjoy looking back to simpler (?) times, trust The Mint Theatre Company’s Jonathan Bank to unearth relevent gems such as “Garside’s Career, last seen in 1919. It describes Garside’s extraordinary rise from a working bloke to a Member of Parliament.
In closing, do try this world premiere by multi-Award winning playwright, Samuel D. Hunter—“Grangeville”, at Signature Theatre.
As soon as I find more plays not to be missed, I’ll write again to entice you.
Until then…
Carol Tambor publishes a monthly newsletter, which announces worthy shows coming to New York, along with occasional information about London theatre and, of course, the Edinburgh Fringe.