Manual Broke Ass Casanova: Gentlemans Guide to Dating on a Small Budget

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Seven versatile performers brilliantly play a variety of sexes, races, and persuasions. Brooke Bloom is particularly moving as an effeminate boy and then his own mother discovering the joys of self-pleasure. Izzie Steele, a Carey Mulligan lookalike, sharply conveys the desperate longings of two lesbians of different eras and a fiercely independent widow. Clarke Thorell is delightfully aggressive as a proper, pompous father and then a nasty tomboy of a girl.

The play is set in a public park like the second act of Cloud Nine where a lower-middle-class family stages an intervention to get a drug-addicted sister to enter rehab. But is it the family black or white? As the play progresses and additional layers of reality are added, our perspective shifts, and the author makes us consider the distortions imposed by media and pop culture. Tamberla Perry and Samantha Soule are given the juiciest opportunities as two versions of the junkie sibling, and they run with them. A fter sex and race, religion used to be the topic you were supposed to avoid in polite conversation.

Lucas Hnath tackles this third rail of American discourse in his electrifying and scary The Christians. Just after the debts for his megachurch have been paid off, Pastor Bob announces he no longer believes in literal damnation and that God is all-forgiving to non-Christians, nonbelievers, and even Hitler.

His congregation, his board of directors, and his wife slowly fall away as Bob continues to preach his personal vision, which runs contrary to the fire-and-brimstone stance of his rival Joshua, a former associate now starting his own ministry. Hnath delivers a hard-hitting work on the necessity of hell for some people to do good. Like Dr. Hnath makes Bob a complex and flawed visionary, and Joshua is no fire-breathing bigot but a sincere advocate for his position.

Andrew Garman and Larry Powell give multiple shadings to these two adversaries, and Emily Donahoe is stunningly compelling as a questioning parishioner.

Complete with a choir, organ, stained-glass windows, and microphones, the action becomes a full-on Sunday service the accurate setting is again by Dane Laffrey , staged with insight and power by Les Waters. Like the previous two plays, The Christians covers a difficult theme in an unexpected format, offering new insights and provoking audiences to think differently—the goal of engaged and engaging theater. Three scruffy characters sit in silence for several seconds, but you can feel the tension. Gordon Joseph Weiss as The Old Man sits just outside the scene, not really there, but very present in the minds of the other two.

May and Eddie have an explosive on-again, off-again relationship, which Eddie wants to renew as May is trying to get on with her life. As the weird evening progress, bits of the past slip out, and a hazy, uncertain puzzle emerges. Did Deeley know Anna in the past? Is Anna dead? Hodge directs a leering Clive Owen, an overacting Eve Best, and an arch Kate Reilly to play the rivalries and power struggles right on the surface rather than burying them in subtext as in most Pinter productions.

The outsized environment seems more appropriate for a Wagnerian opera directed by Robert Wilson. T he Gin Game also disappoints.

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Jones and Tyson are Weller and Fonsia, a pair of abandoned senior citizens playing gin in a depressing elder residence wonderfully detailed set by Riccardo Hernandez. But Tyson plays Fonsia as a sweet old lady, only slightly showing her mean streak.

Broke Ass Casanova: Gentlemans Guide to Dating on a Small Budget

Jones does not succumb to such tricks and makes Weller a sharp-witted but difficult codger whose inner grouch pops out at the slightest provocation. There are plenty of laughs, but The Gin Game , like the other recent openings, deserved to be dealt a better hand. October 14, The attendees passed a resolution advocating lip reading and attempting speech over sign language, forcing deaf students to imitate their hearing peers rather than developing communication skills of their own.

The production has the oppressive adults not listening to the youngsters both figuratively and literally. This conflict is most sharply felt in a classroom scene where a tyrannical schoolmaster a chilling Patrick Page forces his deaf pupils to speak Latin translations rather than sign them. He mocks their gestures and their imperfect voices with shaming brutality.


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Many of the roles are cast with deaf performers in period clothes while hearing actors dressed in modern duds provide their voices, acting as their caged modern selves trapped in the puritanical past. I nterestingly, the lead roles are played by unknowns, while Broadway, film, and TV vets take supporting turns. The main character Melchior, a rebellious student seeking to throw off the restrictions of his elders, is played by the vibrant Austin P. McKenzie, a hearing actor fluent in sign language.

He makes this anguished rebel serve as a bridge between the hearing and deaf worlds. Daniel N. Andy Mientus and Krysta Rodriguez, both breakout performers in earlier Broadway productions and the TV series Smash, are arresting as the smug Hanschen and the lost Ilsa. Ironically, this two-hander also deals with a young protagonist searching for identity in restrictive era in this case America in the first decade of the 20th century. Daddy employs the same kind of soupy romantic score and soapy libretto. The only unusual music can be heard during a brief section of a comic song about snobby New Yorkers.

The story may have been charming in , but it lacks tension and surprise today. Jerusha Abbot, an orphan girl, writes letters to an unknown benefactor she assumes to be an avuncular old man, but he turns out to be her young suitor, the wealthy but noble-hearted Jervis Pendleton III. Fortunately, Megan McGinnis and Paul Alexander Nolan endow the two roles with wit and rich voice, making this postcard-sized show bearable for an overlong two acts.

September 30, This massive drama runs a staggering three hours and 45 minutes, and covers labor relations, faith, love, money, suicide, and sexual and family issues. Though Kushner takes on multiple themes, his complex script never feels scattered and none of the characters or their concerns is shortchanged unlike another Shaw Fest production, The Divine: A Play for Sarah Bernhardt , which fails to sufficiently develop its myriad plotlines. Mezon gives a shattering performance as a disillusioned radical whose ideals have been crushed by a materialistic society.

Amazingly, the actor is on double duty as a director. Marital mixups and intrigues proliferate, while the unflappable hotel waiter William acts as a sort of nonplussed master of ceremonies.

That is until his son, a blustering lawyer, barrels in and resolves all complications. Gray Powell, admirably volatile as Vito, the construction-worker youngest son in Guide , is equally energetic as the bubbly but more expressive Valentine. Peter Millard is a cool and composed William, while Peter Krantz bulldozes with vigor as his take-charge son.

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Caricatures of then-famous theater folk such as Gertrude Lawrence, Guthrie McClintic, and Billy Rose Claire Jullien, Steven Sutcliffe, and Thom Marriott, all delightfully over the top carry on extravagantly in a Boston hotel suite during a disastrous out-of-town tryout. The first act is a bit slow with lots of exposition being laid down. But once the groundwork is established, comic fireworks explode after the intermission.

The hoary jokes creak at times, but Williams and his cast give it a shot of much-needed adrenaline. September 13, The mission is also to present the works of modern playwrights who, like the great master, explore social issues in a complex manner. Known mainly as the source for My Fair Lady , this comedy of social manners is too often thought of as a cozy romance between the pushy phonetics professor Henry Higgins and the gruff but ambitious cockney flower girl Eliza Doolittle to whom he teaches proper English.

Women are no longer trapped in marriages as a means of advancement or escape, but class distinctions are largely as ironclad and impenetrable as ever. Between acts, videos on language and upward mobility document the new paradigms modern-day Elizas face. The production includes gimmicky choices. Several of the Cy Coleman—Dorothy Fields musical numbers display the influence of Bob Fosse, the creator and stager of the first production, with Esse adding touches of his own.

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Julie Martell makes for a lovably tough Charity, slowly revealing the soft center beneath her hard shell. One is a stage-struck aspiring playwright while the other is a victim of abuse by an older clergyman. A t the other end of the attention-span spectrum, J. September 3, There is a sense of community and celebration absent when patronizing most commercial productions. On a recent visit, I crammed in 11 shows in five days.

This merry comedy of four academic male courtiers unsuccessfully resisting the romantic advances of the French princess and her three ladies-in-waiting falls victim to the trap of over familiarity. There is no chemistry between any of the four supposedly loving pairs, and so their witty declarations of amour fall flat. Written at the height of the Cold War in , this dark play imagines a nuclear nightmare set off by three allegedly insane scientists in a Swiss asylum.

The world the characters inhabit is crazy, and the actors proceed logically within its terms, no matter how nuts their actions may seem. As the trio of afflicted physicists, Gearing Wyn Davies, Graham Abbey, and Mike Nadajewski are dazzling as they switch from goofily eccentric to coolly rational and back again, and Seana McKenna is riotously versatile as their Strangelove-like psychiatrist, transforming from flustered administrator to power-mad dictator without missing a beat.

T he following day provided examples of smashing productions of oft-seen favorites, staged with imagination and flair. Henry delivers the antics in a straightforward, fun manner. Joseph Ziegler and Lucy Peacock make merry as the confused heads of the household, and Karack Osborn is a jolly Tony Lumpkin, the chief prankster. Next was The Taming of the Shrew. Modern productions of this Shakespearean warhorse can cross themselves by trying too hard to repudiate its period sexism.

Chris Abraham wisely tones down any apologies for the behavior of the chauvinistic Petruchio and emphasizes the unlikely love match between him and the headstrong Kate and the wild comic elements surrounding it. Here Sly is a disruptive arts blogger refusing to turn off his cellphone, played with proper petulance by Ben Carlson who later turns up as Petruchio.