NEW ON NYTHEATRE.COM

Review: THE ORANGE PERSON by Martin Denton
There's something quintessentially American about The Orange Person, a celebration of individuality, small town life, and joyful story-telling created by Jeremy Bloom, Laura Dunn, and Brian Rady. Structurally it reminded me a lot of Once (which it pre-dates, by the way), using a gathering of minstrels and musicians as a framework to unfold its imaginative, singular story: the simple informality of the piece reinforces its themes and never feels false or ingenuous or precious. Bloom, who directs, informs us at the beginning that the company is doing this show for fun, and there was never a moment when I doubted him. (Though it's to be hoped that this remarkable work can bring these artists some more tangible rewards as well!)

Review: THE BACHELORS’ TEA PARTY by Martin Denton
Stolen Chair, one of my favorite indie theater companies, is offering a unique performance event this spring/summer at Lady Mendl's, an eating and drinking establishment located in a townhouse near Gramercy Park. It's called The Bachelors' Tea Party, and it takes place, literally and dramaturgically, at a tea party. (Actually, the play spans multiple tea parties over multiple years.)

Review: DEGENERATION X by Martin Denton
Degeneration X, a new multimedia play created by Leah Bachar (author) and Meredith Edwards (director), uses live action and pre-recorded video to tell the truly gripping story of Xavier, a young man who is stricken with a rare, incurable disease that will eventually make him blind. In the weeks and months before he completely loses his vision, he is plagued with hallucinations and an increasing inability to focus and concentrate. Much of the play/film deals directly with his condition and his response to it, and when it sticks to this theme Degeneration X is both harrowing and fascinating.

Review: A MIDSUMMER NIGHT'S DREAM by Judith Jarosz
William Shakespeare's A Midsummer Night's Dream is one of his most frequently produced comedies. There are many reasons for this. The play is well balanced with some earnest sincerity coupled with likable humor. There are multiple equally sizable roles for the cast, that each provide a moment or more for the artist to shine. It is an audience favorite. It's cute, it's fun, and it can be a laugh riot--which is what make this production so disappointing.

Review: THE RYAN CASE 1873 by Victoria Linchong
"Watch your step" the guy at the box office said, "it's dark in the 1800s." I made my way down into the basement of the Lower East Side bar Fontana's, where the tinny sound of traditional Irish pipes wafted over four sections of folded chairs. Being a little wary of interactive theater, I took a chair in the back near the entrance and was soon joined by my friend, who was as mystified as I was as to what we were about to see. Our conversation was abruptly ended by the jarring screech of a police whistle as a big burly guy wearing a brogue and a derby hat marched through the audience bellowing, "On yer feet! On yer feet, recruits!"