“ON BECKETT”: McCarter Theatre Center presented “On Beckett” on March 18. Created, directed and performed by Bill Irwin, the show played at McCarter’s Matthews Theatre. Above: Irwin considers, among other questions, whether the “Waiting for Godot” playwright’s work is “natural clown territory.” (Photo by Craig Schwartz)

By Donald H. Sanborn III

Award-winning actor, writer, director, and clown Bill Irwin presented On Beckett at McCarter on March 18. The entertaining monologue excerpts passages from the author and playwright’s writings, interspersed with comedy routines and affable, thoughtful commentary. Early in the evening Irwin poses an overarching rhetorical question: “Is Samuel Beckett’s writing natural clown territory?”

On Beckett is the result, and culmination, of Irwin’s extensive experience performing Beckett’s works. He has acted in multiple productions of Waiting for Godot, including the 2009 Broadway production; and he performed in American Conservatory Theater’s 2012 production of Endgame.

“Mine is an actor’s relationship to Beckett’s language; but it’s also a clown’s relationship,” Irwin explains to this writer in an interview for (the March 16 edition of) Town Topics. “I’m hoping to welcome you in, and in doing so, re-welcome myself back in, because I am forever rediscovering this writing — the wit in it.”

On Beckett premiered at Irish Repertory Theatre in 2018, following development at ACT. The McCarter presentation is produced by Octopus Theatricals, in partnership with the Lewis Center for the Arts.

Irwin’s other original stage works include The Regard of Flight, The Happiness Lecture, and Old Hats. He won a Tony Award for Best Actor for his performances in Who’s Afraid of Virginia Woolf and Fool Moon (the latter is created by Irwin and David Shiner). Television credits include Elmo’s World; film credits include Rachel Getting Married and The Grinch Who Stole Christmas. more

“THE OK TRENTON PROJECT”: Performances are underway for “The OK Trenton Project.” Written by David Lee White, Richard Bradford, and members of the OK Trenton Ensemble; and directed by Passage’s Artistic Director C. Ryanne Domingues, the play runs through February 27 at Passage Theatre. Above, from left, are Richard Bradford, Wendi Smith, Kevin Bergen, Carmen Castillo (seated), and Molly Casey Chapman. (Photo by Jeff Stewart)

By Donald H. Sanborn III

In August 2017 the Associated Press ran an article with the headline, “Not OK? Sculpture of hand gesture moved over gang worries.” The subject of the piece was Helping Hands, a metal sculpture of a hand making the “OK” sign, which was installed on a city-owned vacant lot on the corner of Trenton’s Perry and Montgomery streets.

Helping Hands was created by students (ages 12 to 15) from Camp Mercer, a summer camp operated by HomeFront, a nonprofit group. The sculpture was crafted in collaboration with artist Eric Schultz of Grounds For Sculpture, along with Trenton-based community development organization Isles, Inc.

The AP article notes that the students chose the “OK” sign “because they felt the peace sign was overused.” After the mayor’s office received anonymous complaints that Helping Hands resembled a gang symbol, the sculpture was removed from city property.

The controversy surrounding the removal of  the sculpture — and reactions to other works of art — is explored in The OK Trenton Project, a new play that is being presented by Passage Theatre. The docudrama was developed through Passage’s PlayLab program, over a period of four years.

This iteration of The OK Trenton Project marks the first full mainstage production of  “Trenton Makes,” a season that will feature plays about the city. “Both true and fictional, each piece highlights the capital city’s triumphs and challenges while celebrating its unique community,” promises a promotional email from Passage. more

“SCENERY”: Performances are underway for “Scenery.” Presented by Maurer Productions OnStage, and directed by Judi Parrish, the play runs through February 13 at Kelsey Theatre. Above: married, veteran actors Richard Crain (Thom Carroll, left) and Marion Crain (Laurie Hardy) bicker, as an opening night finds them wearily discussing their life in the theater, and as a couple. (Photo by John M. Maurer)

By Donald H. Sanborn III

Early in Scenery, veteran actor Marion Crain complains about being given new lines on opening night. Her husband, costar Richard Crain, tartly replies, “They gave us new lines last week; you just didn’t learn them.” Marion retorts, “I was busy learning the old ones.”

This exchange encapsulates the themes and content of Scenery, which is being presented at Kelsey Theatre. Playwright Ed Dixon scripts flippant conversations (which include adult humor and strong language) that achingly probe anxieties about time passing by and leaving us behind — specifically, as we grow older.

In addition to his work as a playwright, Dixon is a seasoned composer and award-winning Broadway and concert performer. His voice is heard on several recordings (including the Kennedy Center premiere of Leonard Bernstein’s Mass, conducted by the composer). As such, Dixon’s own career offers him ample material for a play about longtime actors.

The play received its premiere from New York’s Montauk Theatre Company in September 2001 (five months after the Broadway opening of another comedy about theater and its practitioners: The Producers). Five years later, Grand Rapids Press reported that Dixon considers a subsequent production, presented at Saugatuck, Michigan’s Mason Street Warehouse, to be “the world premiere of a substantially rewritten script.” more

“OUR TOWN”: Performances are underway for “Our Town.” Presented by Kelsey Theatre and Shakespeare 70, and directed by Jake Burbage and Frank Falisi, the play runs through January 30 at Kelsey Theatre. Above: the Stage Manager (Curt Foxworth, center) and the cast. On ladders are George (Jake Burbage, left) and Emily (Kate Augustin). (Photo courtesy of Jake Burbage)

By Donald H. Sanborn III

On January 22, 1938, Our Town premiered at McCarter Theatre. Thornton Wilder wrote to a friend that the performance, which was “sold out with standees,” was an “undoubted success.” An unimpressed Variety declared that the play would “probably go down as the season’s most extravagant waste of fine talent” — an ironic assessment since Our Town won the Pulitzer Prize for Drama later that year.

Eighty-four years later (almost to the day), Our Town is being presented by Shakespeare 70 at Kelsey Theatre. Directed by Jake Burbage and Frank Falisi, this smooth, deft production honors Wilder’s intentions, while subtly giving additional focus and insight to a central character.

In terms of the visual aesthetic, this Our Town generally does not stray from what audiences might expect after seeing photos of past productions. In keeping with Wilder’s request for “no scenery,” Judi Parrish (credited with “props”) furnishes the stage with simple wooden chairs, on which cast members gradually sit before the performance begins.

Although the play is set at the beginning of the 20th century, costume designer Brittany Rivera generally eschews period costumes, letting most of the cast wear casual contemporary outfits. Among the notable exceptions is the good-naturedly pedantic Professor Willard (an exuberant Ray Fallon), whose bright yellow suit matches the character’s personality.

As if to blur the lines between stage and audience, the house lights are not dimmed until the performance has been underway for several minutes. The Stage Manager (Curt Foxworth) delivers the customary pre-performance reminders about emergency exits and silencing electronic devices, then seamlessly goes on-script to give a detailed introduction of the play’s setting. more

“WHAT THE CONSTITUTION MEANS TO ME”: The North American tour of “What the Constitution Means to Me” has played at McCarter’s Matthews Theatre (December 7-12). Directed by Oliver Butler, the play depicts a debate between Jocelyn Shek (left) and playwright Heidi Schreck (Cassie Beck, right) about the merits — and deserved fate — of the Constitution. (Photo by Joan Marcus)

By Donald H. Sanborn III

The North American tour of What the Constitution Means to Me has played at McCarter’s Matthews Theatre December 7-12. Heidi Schreck’s play, which depicts a debate over the merits — and deserved fate — of the founding document, pulled the enthusiastic opening-night audience into the argument.

Schreck drew inspiration from a series of debates in which she participated as a teenager, giving speeches on what the Constitution meant to her. Money awarded at these contests helped pay Schreck’s college tuition. The play is set at one of the American Legion’s oratorical contests (in Wenatchee, Wash., where the playwright was raised).

A finalist for the 2019 Pulitzer Prize for Drama, What the Constitution Means to Me was commissioned by True Love Productions; the 2017 debut at the Wild Project in New York was followed by a West Coast premiere at Berkeley Repertory Theatre. An off-Broadway run at New York Theatre Workshop was followed by the 2019 Broadway production.

For much of the play the debate about the Constitution appears to be internal. Initially Schreck re-enacts her debate performance from the point of view of her 15-year-old self; although aware of injustice, she believes in the Constitution. (“I loved it. I was a zealot,” she recalls.) Later, as she learns more about the history of the country — and the women in her family — the adult Schreck angrily disowns her youthful idealism, rejecting long-ingrained beliefs.  more

“MUCH ADO ABOUT NOTHING”: Theatre Intime has staged a reimagined “Much Ado About Nothing,” presented November 12-21 at the Hamilton Murray Theater. Directed by Katie Bushman, Shakespeare’s romantic comedy is transplanted to the era of World War I. Benedick (Solomon Bergquist, center left) and Beatrice (Cassy James, center right) have a bickersome courtship, which is jeopardized by an action taken by Claudio (Harit Raghunathan, left) at his wedding to Hero (Lauren Owens, second from left). Onlookers: Leonato (Hank Ingham, second from right) and Don Pedro (Alex Conboy, right). (Photo by Elliot Lee)

By Donald H. Sanborn III

In Much Ado About Nothing Shakespeare has Balthasar, a musician, sing: “Sigh no more, ladies, sigh no more; men were deceivers ever.” This world-weary comment, about the timelessness of dishonesty in relationships, would seem to offer directors latitude to reimagine the period in which this comedy is set.

Princeton University’s Theatre Intime has presented (from November 12-21) a production that takes advantage of this dramaturgical license. Director Katie Bushman transplants the play — first published in 1600 — to the end of the First World War.

This is clear as soon as the audience enters the theater. We hear popular songs of that period, including Irving Berlin’s “Alexander’s Ragtime Band” and, more thematically relevant, George M. Cohan’s “Over There.”

Don Pedro, Prince of Aragon (portrayed by Alex Conboy) returns home from winning a battle. With him are two of his soldiers: Claudio (Harit Raghunathan) and Benedick (Solomon Bergquist). The play is set at the home of a noble, Leonato (Hank Ingham); he invites the soldiers to stay for a month.  more

KELLI O’HARA: Stage and screen star Kelli O’Hara (above) performed November 13 at McCarter’s Matthews Theatre, marking her debut there. For the concert, which included a selection of show tunes and standards, the Tony Award winner was accompanied by a quartet of instrumentalists. (Photo courtesy of McCarter Theatre)

By Donald H. Sanborn III

Stage and screen star Kelli O’Hara performed at McCarter’s Matthews Theatre this past Saturday night. The concert featured a selection of classic and contemporary show tunes, as well as a few stand-alone songs, that have had special significance for the Tony and Drama League Award winner.

Her stage credits include numerous musical theater roles on Broadway, as well as Metropolitan Opera performances in The Merry Widow and Cosi fan tutte. Screen credits include the web series The Accidental Wolf, Netflix’s 13 Reasons Why, and HBO’s upcoming The Gilded Age.

O’Hara made her McCarter debut with the November 13 concert. However, one of the musicians who accompanied her — percussionist Gene Lewin — is an alumnus of Princeton University and its Triangle Club.

Dan Lipton was the musical director and pianist. Guitarist Justin Goldner and bassist Alex Eckhardt completed the well-balanced quartet.  more

“HOW TO RAISE A FREEMAN”: McCarter Theatre and Bard at the Gate are presenting a prerecorded video of Zakiyyah Alexander’s “How to Raise a Freeman.” Directed by Reginald L. Douglas, the video is available via McCarter’s website. Above: Keith (Malcolm Barrett, top), Dean (Jamie Lincoln Smith, middle left) and Greg (Francois Battiste, middle right) teach Marcus (Aric Floyd, bottom) some lessons he will not learn in school. (Digital image courtesy of ViDCo)

By Donald H. Sanborn III

McCarter is presenting How to Raise a Freeman online as of November 3. The theater’s website describes Zakiyyah Alexander’s play as a “dark comedy that asks how a middle-class, African American family can keep their son alive in a world where every 28 hours a Black man is killed by law enforcement.”

The pre-filmed production is a collaboration between McCarter and Bard at the Gate. Founded by Paula Vogel, Bard at the Gate is “designed to become a widely accessible platform for powerful, overlooked plays by BIPOC, women, LGBTQ, and disabled artists,” according to the series’ website.

How to Raise a Freeman opens Bard at the Gate’s second season. The curators are Vogel; McCarter’s Associate Artistic Director Nicole A. Watson; and the Bard at the Gate Advisory Council. Princeton Public Library is hosting a Bard at the Gate Watch Party Series, the first installment of which took place on November 4.

Alexander is an award-winning writer whose other works include the plays 10 Things to Do Before I Die, The Etymology of Bird, and the musical Girl Shakes Loose. Her television credits include 24: Legacy, Grey’s Anatomy, and Hunters. A graduate of the Yale School of Drama, Alexander is co-founder of the Killroys, an organization that focuses on parity in American theater. more

“EVE’S DIARY”: Theatre Intime has staged a reading of “Eve’s Diary,” presented October 10 at the Hamilton Murray Theater. Directed by Anna Allport ’23, the show dramatizes Mark Twain’s retelling of the Creation story. Adam (Ally Wonski, standing left) and Eve (Oriana Nelson, standing right) meet. Seated, from left, are Mel Hornyak, Jill Leung, Elliot Lee, Madeline Buswell, and Sheherzad Jamal. (Photo by Elliot Lee)

By Donald H. Sanborn III

Eve’s Diary is a witty but poignant re-imagining of events in the Garden of Eden. Mark Twain (Samuel Clemens) writes from the title character’s point of view, adding intermittent comments from Adam. First published in 1905, this anachronistic version of Genesis is strikingly relevant in its satire on conflicts in relationships between men and women, as well as its consideration of the search for one’s identity and purpose.

Twain’s story first appeared in the Christmas issue of Harper’s Bazaar, and subsequently in the anthology Their Husband’s Wives. In 1906 Harper and Brothers published it as a book. It is a successor to Extracts from Adam’s Diary (1893).

On October 10 Princeton University’s Theatre Intime presented a live, in-person staged reading of Eve’s Diary, at the Hamilton Murray Theater. Both the cast and the audience were masked.

Director Anna Allport reveals in a program note that she performed a monologue from the story in high school, and was enamored of the work’s “delightfulness and surprising complexity,” as well as Eve’s endless curiosity, headstrong spirit, and unshaken optimism.”

Because the presentation is a staged reading, the only production element is the lighting by Greyson Sapio. An apple, placed in the center at the edge of the stage, is the only prop. However, there is enough movement to provide visual interest. Allport keeps the pacing tight by avoiding pauses between monologues. Twain’s prose is divided among seven actors; four actors share Eve’s lines, and three read for Adam.

As Eve, Oriana Nelson opens the show. She stands up, and — with spring in her step — moves toward center stage. “Saturday — I am almost a day old,” she recites, gesturing expressively. Twain immediately imbues Eve with a mixture of self-confidence and philosophical introspection. “I feel like an experiment,” she muses early in the story, though she senses that her experiences will be “important to the historian some day.” Nelson accentuates Eve’s self-confidence.  more

“ORDINARY DAYS”: Performances are underway for “Ordinary Days.” Directed by Laurie Gougher, the musical runs through July 17 at the Kelsey Theatre. Claire (Jazmynn Perez, left) has suffered a loss that complicates her relationship with her boyfriend, Jason (Shane Tapley, right). Warren (Jackson Jules, second from left) forms an unlikely friendship with Deb (Karaline Rosen, second from right). The cast is accompanied by Michael Gilch (seated at the piano). (Photo by Evan Paine)

By Donald H. Sanborn III

In the musical Ordinary Days a character sings, “All of my most favorite places are places that I’ve never been.” For many theatergoers, a theater housing a live, in-person production is a place that they have never been — at least since March 2020.

Kelsey Theatre has resumed in-person performances. The Kelsey Forward Initiative’s production of Ordinary Days originally was to be presented outside, on the Mercer County Community College (MCCC) campus. However, severe heat and humidity, as well as updates in CDC and state guidelines, led to the production being moved into the auditorium.

The production is “using social distanced seating, and masks are requested during the show,” according to Kelsey’s website. Copies of the program are online rather than in print, and tickets for a livestream are available for viewers who prefer to watch the show online. But the in-person performance attended by this writer (Saturday, July 10) was sold out.

Ordinary Days is a sung-through musical that depicts four New Yorkers whose lives briefly intersect in an unexpected, poetic way. The unassuming, character-driven show is poignant and warmly humorous. It examines the tension between grand ambitions and an ability to treasure daily life; and a character’s need to confront a painful past, in order to welcome a happier future. more

“SURELY GOODNESS AND MERCY”: Passage Theatre has presented an online production of “Surely Goodness and Mercy.” Written by Chisa Hutchinson and directed by marcus d. harvey, the play depicts Tino (above, left) and a classmate, who try to help an irascible but caring school cafeteria worker. (Painting by Leon Rainbow, courtesy of Passage Theatre)

By Donald H. Sanborn III

Passage Theatre has presented Surely Goodness and Mercy. Playwright Chisa Hutchinson’s inspirational coming-of-age drama follows Tino, an intelligent and caring 12-year-old boy. Tino and a classmate form an unlikely friendship with a school cafeteria worker, and seek a way to help her out of a crisis.

This online production was presented March 25-28; the run was extended for a second week (April 1-4). Surely Goodness and Mercy has been part of Passage’s Theatre for Families and Young Audiences series — which, according to the company’s website, is “geared towards students in elementary or middle school and focus on themes that affect the youth in our area.”

Hutchinson’s play is uplifting, but it also is grittily realistic. Set in Newark, Surely Goodness and Mercy attacks poverty (specifically the inability to afford health care), racism, and child abuse. Hutchinson also explores faith and its ability to empower people to change situations.

Tino (serenely portrayed by Layton E. Dickson) lives with his embittered aunt, Alneesa (played by Tamara Anderson, whose performance is characterized by bored, haughty glares and barbed line readings). When Tino tries to engage Alneesa in conversation, she pointedly fast-forwards through a commercial to avoid him.

Alneesa approves of Tino’s classmates teasing him for reading the Bible at school. She also rants about his generation when she learns that he discovered his church via Yelp. She tasks him with dusting, before abruptly reassigning him to scrubbing the bathtub. Later we learn that Tino’s mother died to save him from a gunshot. Alneesa’s resentment stems from the fact that she did not want children, but has been tasked with raising her late sister’s child. more

“BABEL”: Passage Theatre has presented an online production of “Babel.” Written by Jacqueline Goldfinger and directed by Jill Harrison, the dark comedy is set in a future in which genetic testing may prevent a person from being welcome in mainstream society. Renee (Tai Verley, above) must make a painful decision, with unwanted help from a tough-talking stork. (Photo by Lauren Eliot Photography)

By Donald H. Sanborn III

In Jacqueline Goldfinger’s darkly comic play Babel, Renee (the main protagonist) exclaims, “What is this, an old episode of Star Trek?” She probably is thinking of a 1992 Star Trek: The Next Generation episode, “The Masterpiece Society.” In that story, the Enterprise crew encounters a colony that has been developed through genetic engineering and selective breeding.

Because most episodes of Star Trek take place on a fictional planet in the far-distant future, the concepts it examines tend to be comfortably abstract. Although Babel is set sometime in “the future,” Goldfinger strips away that cushion of remove. The play is set on Earth, much closer to our own time, with characters that are vividly relatable.

Babel’s page on the New Play Exchange’s website credits McCarter Theatre with a 2019 developmental reading. The play is the recipient of Boulder Ensemble Theatre Company’s Generations New Play Award, as well as the Smith Prize for Political Theatre.

Passage Theatre presented an online reading of Babel from February 18-21. Ticketed viewers were sent links that entitled them to watch the prerecorded video, skillfully directed by Jill Harrison.

Babel begins wordlessly; we hear controlled, rhythmic breathing. We then see that it is Renee (who is given an outstanding portrayal by Tai Verley). She anxiously consults a book, and continues her exercises. Her spouse Dani (infused with steely composure by Leah Walton) appears, and soothingly starts singing “Beyond the Sea.” Renee joins her, and it is clear that they often sing it together.

We learn that Renee finally has gotten pregnant after trying for eight years, and that an unspecified condition prevents Dani from being the one to give birth. Renee is apprehensive about a medical test that she must undergo the next day. In the play’s dystopian world, there is a “precertification law” that requires all embryos to be screened for physical, cognitive, and behavioral defects.

Renee is distraught at the test results. The physical and cognitive results are acceptable, but the doctor is “concerned about the baby’s behavioral genes” and refuses to issue a certificate. If Renee chooses not to “take the shot” and terminate the pregnancy, the child will be tested again at 18. Unacceptable results at that point banish a person from society. They are forced to live in an “underground village” with constant monitoring, and manual labor as their only career choice. Renee’s state of mind is worsened by a sense that “someone or something” is following her. more

“UNBECOMING”: The Lewis Center for the Arts’ Program in Theater is presenting “Unbecoming.” Directed by Eliana Cohen-Orth, the video will be available online, to view for free, through January 31. Above: Lady Charlotte Guest (Paige Elizabeth Allen, center) is torn between Victorian societal expectations personified by the Wife of England (Eliana Cohen-Orth, left) and ambitions to complete a translation of the “Mabinogion,” which includes the tale of Blodeuwedd (Nora Aguiar, right). (Photo by Cathy Watkins, for the Lewis Center for the Arts at Princeton University)

By Donald H. Sanborn III

The Lewis Center for the Arts is presenting the first full production of Unbecoming, a new play by Princeton University alumna Emma Catherine Watkins. The play is inspired by the true story of Lady Charlotte Guest (1812-1895), the Victorian aristocrat who became the first person to translate the Mabinogion — a Medieval collection of Welsh stories that originated from oral traditions — into English.

Unbecoming, which employs a play-within-a-play format, has two protagonists: Guest, and Blodeuwedd, a central character in the last of the “Four Branches” of the Mabinogion. The legend of the “fairest, and most graceful” woman — whom the magician and warrior Lleu Llaw Gyffes conjures out of flowers to be his wife, but transforms into an owl as punishment for infidelity — is juxtaposed against a somewhat fictionalized depiction of Guest, whose husband tries to mold her to Victorian conceptions of an ideal wife.

Guest is given a strong portrayal by Paige Elizabeth Allen, who also is the production’s dramaturg. After Allen discovered Unbecoming through a development workshop hosted by Princeton University in January 2020, she and director (and cast member) Eliana Cohen-Orth proposed the project to the Program in Theater, as their senior theses. The production was developed in collaboration with Watkins. more

“ETTA AND ELLA ON THE UPPER WEST SIDE:” Round House Theatre, in association with McCarter Theatre Center, is presenting the world premiere of Adrienne Kennedy’s “Etta and Ella on the Upper West Side.” Directed by Timothy Douglas, the prerecorded video will be available online through February 28. Above: Ella (Caroline Clay) describes a contentious relationship between two sisters, both of whom are authors. (Video still courtesy of Round House Theatre)

By Donald H. Sanborn III

McCarter is partnering with the Round House Theatre (in Bethesda, Maryland) to present an online festival, The Work of Adrienne Kennedy: Inspiration and Influence.

Kennedy’s many awards include an Obie for Lifetime Achievement, and in 2018 she was inducted into the Theater Hall of Fame. A press release notes that her plays are “taught in colleges throughout the country, in Europe, India, and Africa.”

This series, which has been a fitting tribute to an underperformed playwright, consists of prerecorded performances produced by the Round House. All four productions have been conceived with a theatrical sensibility, while taking advantage of the visual — even cinematic — possibilities offered by video.

The festival opened with He Brought Her Heart Back in a Box, which depicted young lovers, separated by physical space as well as their racial backgrounds. Their letters to each other illuminate America’s history of racial injustice. The excruciatingly relevant second installment, Sleep Deprivation Chamber, is inspired by the treatment Kennedy’s own son (and co-author) experienced at the hands of police officers. Ohio State Murders was the third play presented. While not as overtly autobiographical, it examines the racial prejudice Kennedy experienced on a mid-20^th century campus.

Elements from all three of these plays appear, to varying degrees, in the final installment: Etta and Ella on the Upper West Side, which is receiving its world premiere via this festival. The multilayered, deceptively stream-of-consciousness piece — which runs a little over a half an hour — is a monologue, though multiple characters speak.  more

“CHRISTMAS 2.0”: Passage Theatre presented an online reading of “Christmas 2.0.” Written by Donna Hoke (above) and directed by Michelle Tattenbaum, the romantic comedy probes the extent to which social media can jeopardize interpersonal relationships. Online contact with a former classmate endangers the protagonist’s current relationship with her husband. (Photo by kc kratt)

By Donald H. Sanborn III

This is an era defined by Apple,” observes Angela, the protagonist of Christmas 2.0. Angela’s mother, in a critique of restaurant patrons she sees absorbed by their phones throughout their meals, remarks, “What’s more fascinating than the person right in front of you?”

That conversation could point to an expedient partnership between technology and live theater. Under normal circumstances, the allure of electronic devices and social media would seem to hamper theaters’ ability to attract audiences’ attention to a live show, where they (presumably) would be fascinated by the person in front of them — on stage. However, faced with the fact that live venues have been closed because of the pandemic, a growing number of theater companies are presenting shows online.

Passage Theatre has presented a reading of Christmas 2.0. Playwright Donna Hoke’s wry but charming romantic comedy, which probes the extent to which social media and overreliance on technology can jeopardize interpersonal relationships, is an example of a play that is well suited to online performances. (The New Play Exchange’s website notes that the piece was workshopped at the 2015 Hormel Festival of New Works at Phoenix Theatre, and it won third place in the Pickering Prize for Playwriting Excellence.)

Victoria Davidjohn reads the stage directions, which establish the play’s first setting as “Jeff and Angela’s middle class living room. Jeff is busy on his phone; Angela is on her computer.” Angela (whom Autumn Hurlbert infuses with down-to-earth, mild-mannered earnestness) turns away from her screen to examine the couple’s Christmas tree, which she is concerned might be crooked.  more

“OHIO STATE MURDERS”: Round House Theatre and McCarter Theatre Center are presenting “Ohio State Murders.” Directed by Valerie Curtis-Newton, the video will be available online through February 28, 2021. Above, writer Suzanne Alexander (Lynda Gravatt) returns to her alma mater to give a lecture, whose subject matter includes her turbulent experiences as a student. (Video still courtesy of Round House Theatre)

By Donald H. Sanborn III

McCarter is partnering with the Round House Theatre (in Bethesda, Maryland) to present an online festival, The Work of Adrienne Kennedy: Inspiration and Influence. Kennedy is an African American playwright whose accolades include multiple Obie Awards, including Lifetime Achievement. As a press release notes, her plays are “taught in colleges throughout the country, in Europe, India, and Africa.”

This four-part festival, consisting of videos filmed by the Round House, opened with He Brought Her Heart Back in a Box, in which a multi-racial couple’s letters reveal disturbing family histories; and continued with Sleep Deprivation Chamber, in which a writer seeks justice for her son when he becomes a victim of police brutality. 

Ohio State Murders is the current installment, which became available as of December 5. Following the drama’s 1992 premiere by the Great Lakes Theater Festival, which commissioned the piece, it was included in a Signature Theatre Company season (1995-96) devoted to Kennedy’s work. Theatre for a New Audience gave the play its New York debut in 2007.

The protagonist of Ohio State Murders also is that of Sleep Deprivation Chamber: African American writer Suzanne Alexander, a partially fictionalized version of Kennedy. In both dramas, Suzanne confronts a series of incidents that has a devastating impact on her family.  more

“SLEEP DEPRIVATION CHAMBER”: Round House Theatre and McCarter Theatre Center are presenting “Sleep Deprivation Chamber.” Produced in partnership with the Department of Theatre Arts at Howard University, and directed by Raymond O. Caldwell, the video will be available online through February 28, 2021. Suzanne Alexander (Kim James Bey, left) and her son Teddy (Deimoni Brewington) discuss Suzanne’s efforts to ensure justice for Teddy. (Video still courtesy of Round House Theatre)

By Donald H. Sanborn III

McCarter is partnering with the Round House Theatre (based in Bethesda, Maryland) to present an online festival, The Work of Adrienne Kennedy: Inspiration and Influence. The four-part series continues with a Round House video of Sleep Deprivation Chamber, which became available to view as of November 22.

The edgy production is directed by Raymond O. Caldwell. Maboud Ebrahimzadeh is the director of photography, returning from the festival’s production of He Brought Her Heart Back in a Box.

In a press release, McCarter’s Artistic Director Sarah Rasmussen praises Kennedy — an African American playwright whose accolades include Obie Awards and an induction into the Theater Hall of Fame — for breaking “convention in the face of traditional barriers that prevented a much-deserved spotlight.” Round House Theatre’s Artistic Director Ryan Rilette adds that Kennedy’s plays are “beautiful, poetic conversations on race and power that are just as necessary now as they were 50 years ago.”

Sleep Deprivation Chamber premiered in 1996, presented by the Signature Theatre Company at the Public Theater. That year it won an Obie Award for Best New American Play (which it shared with another Adrienne Kennedy play, June and Jean in Concert). more

“WELCOME TO MATTESON!”: Passage Theatre presented, to ticketed viewers, an online reading of “Welcome to Matteson!” Written by Inda Craig-Galván (above), and directed by Andrew Binger, the dark comedy depicts the class tensions that erupt when a couple is forcibly relocated from a housing project to a more affluent suburb. (Photo by Julián Juaquín)

By Donald H. Sanborn III

Passage Theatre has presented a live online reading of Welcome to Matteson! Inda Craig-Galván’s poignant comedy portrays “a suburban couple that hosts a welcome-to-the-neighborhood dinner party for their new neighbors, a couple recently (forcibly) relocated from Chicago’s roughest housing project,” notes a press release, which adds that the dinner turns out to be “anything but welcoming.”

“The play, at heart, is about how we relate to each other, how we value things over people,” Craig-Galván says. “It’s taken on sort of a different feel, now that we are in our own bubbles, and our own seclusion.”

As with Passage’s presentation of the prerecorded Panther Hollow last month, the reading was treated as a theatrical event. The purchase of a ticket entitled audiences to watch the livestream via Zoom on November 21, or the recording on YouTube through November 25.

Craig-Galván is developing new works with theater companies such as Primary Stages and Company One. She has received awards such as the Jeffry Melnick New Playwright Award, Blue Ink Playwriting Prize, and Stage Raw Best Playwright Award. She is a writer on the CBS All Access series Happy Face, and previously was a writer for How to Get Away with Murder and The Rookie, both for ABC. The reading of Welcome to Matteson! is her first collaboration with Passage. more

“THEATRE AND CIVIC ENGAGEMENT”: In partnership with the New Jersey Historical Commission, New Jersey Theatre Alliance presented “Women in New Jersey Theatre: Theatre and Civic Engagement.” Among the panelists were McCarter Theatre’s Artistic Engagement Manager Paula T. Alekson (left) and Passage Theatre’s Artistic Director C. Ryanne Domingues. (Paula T. Alekson photo by Matt Pilsner; C. Ryanne Domingues photo by Claire Edmonds)

By Donald H. Sanborn III

In partnership with the New Jersey Historical Commission, New Jersey Theatre Alliance presented Women in New Jersey Theatre: Theatre and Civic Engagement on October 8. Among the panelists were Dr. Paula T. Alekson, McCarter Theatre’s artistic engagement manager, and C. Ryanne Domingues, Passage Theatre’s artistic director.

The panel also featured Dr. Jessica Brater, assistant professor of theater and dance at Montclair State University; and Amanda Espinoza, education and community engagement manager of Two River Theater Company in Red Bank. The Alliance’s deputy director, Erica Nagel, moderated the online discussion.

“Community engagement is happening every time an audience member connects with a theater,” Brater asserts, when asked by Nagel to define “community engagement” and  “civic engagement” as the terms pertain to theater. “It can also happen when a theater partners with a community organization.”

“Civic engagement happens when a performance intersects with our role as citizens,” Brater continues, adding, “civic engagement asks artists, who are creating the performance, to move a step beyond community engagement, to a connection that prompts all involved to consider their role as citizens — and perhaps even to take civic action.” more