I can’t recall the last time I’ve seen such a wealth of dramatic work at small NY theatres. You may already have read the extraordinary reviews for “The Underground Railroad Game” at Ars Nova; “A Taste of Honey” at Pearl Theatre Company; “Nat Turner in Jerusalem” at New York Theatre Workshop; “Where Did We Sit on the Bus” at Ensemble Studio Theatre.
“Ultimate Beauty Bible” by Caroline V. McGraw, is coming to the new Ohio Theatre this month. This is the latest from the marvelous company, Pg. 73, who have produced work from a roster of notable, new playwrights.
“Miles For Mary,” created by the Drama Desk Award nominated theatre company, The Mad Ones, at the Bushwick Starr, sounds like great fun.
“Homos, Or Everyone in America,” a new play by Jordan Seavey, will be coming to Labyrinth with a fine ensemble cast, including the terrific Michael Urie.
The larger off-Broadway houses also promise a rich Fall season, such as Second Stage’s “Notes From the Field,” by the inimitable Anna Deavere Smith; “Dead Poets Society” by Tony Schulman from his own screenplay, at Classic Stage Company; “Sell, Buy, Date” by Sarah Jones (“Bridge and Tunnel”) at Manhattan Theatre Club; the season at 59e59, where several plays look enticing — including “Terms of Endearment” with Molly Ringwald.
And, go into debt for “Natasha, Pierre, and the Great Comet of 1812.” There’s no doubt that this gem, which I’ve begged everyone to see since its humble beginning at Ars Nova four years ago, will be even more sensational on a larger canvas, directed by the magician-director, Rachel Chavkin.
Have a great time at the theatre!
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.