Bughouse, written by playwright Beth Henley and conceived and directed by Martha Clarke, immerses audiences at Vineyard Theatre in New York City in the haunting and imaginative world of outsider artist Henry Darger.
Last week, The Knockturnal enjoyed a reading of Our Hood, an adaptation of the Thornton Wilder play Our Town, at The Center at West Park, a not-for-profit community arts center based at the historic West Park Presbyterian Church on Manhattan’s Upper West Side.
Rachel McAdams makes her Broadway debut in “Mary Jane,” a tender and poignant slice-of-life drama by Amy Herzog about the heroism of everyday struggles.
When An Enemy Of The People was announced, we all knew the Jeremy Strong and Michael Imperioli led production of the Amy Herzog adapted Henrik Ibsen classic was going to be mind-blowing, but somehow expectations were shattered (an adjective fit for the climax of this revival production) when the show opened on March 18, 2024.
On Wednesday, March 6, the Roundabout Theatre Company presented the first revival of John Patrick Shanley’s play, Doubt: A Parable. Directed by Scott Ellis, the production asks questions about what’s fact versus fiction and who should be believed.
History danced its way onto the stage at the Belasco Theatre on December 10 when How To Dance in Ohio opened on Broadway!
“I Need That” is a work that takes its title literally.
Directed by Moritz von Stuelpnagel and written by Theresa Rebeck, the Roundabout Theatre production is a new play that stars the immensely talented Danny DeVito, Lucy DeVito, and Ray Anthony Thomas. The play follows a widower named Sam with an addition to hoarding. He refuses to fix his problem until his home becomes at risk of being demolished. With the help of his friend Foster (Thomas) and his daughter Amelia (DeVito), Sam learns that there’s value in the things around him, but he must let them go to move forward with his life.
As the narrative begins, we are immediately thrown into Sam’s world of chaos. Items spanning decades consume his house. There’s books, newspapers, games, clothing items. You name it, the house has it. The beauty of this production is that although there’s so much on stage, the character’s actions and feelings aren’t overshadowed. We understand that these items aren’t any more valuable than Sam, and even more we come to understand these items are a response to grief. It is revealed early on that Sam has lost his wife years prior. As we witness Sam explain why he keeps the items, there’s a sense of sadness masked behind delusion ad fear. The portrayal of hoarding as a result of emotional trauma was examined flawlessly.
Furthermore, the relationship between the three characters was refreshing to watch. They rely on each other heavily, but over the course of the narrative gain some independence. This especially goes for Amelia. Her role was always to be her father’s caretaker and the audience views how this unfortunately leads to a bit of resentment of both of their parts. However, she watches as her father transforms both his home and his mindset, and she becomes less inclined to worry about him. The two additionally learn that they’re not as different as they seem. Both are still grieving over the loss of their loved one. This shared journey is accumulated in cleaning the house which acts almost a a device of reconciliation.
The play explores human connection and empathy brilliantly. Foster acts as a guardian for Sam. He offers support and assistance where needed and he never bares immense judgment of how Sam lives. The two even bond over their shared experience as old men who seem alone in the world. Moreover, the choice of how their relationship shifts in the climax of the play was wisely done. Foster betrays Sam, but the latter learns to forgive him almost instantly. And even with this betrayal, you can’t be angered by Foster’s actions. Sam knows he can’t survive without Foster and vice versa. This codependency made the story even more heartbreaking. In the end, both men find strength and healing through their shared experiences. This strength allows them to live their lives separtely, but their brotherhood lives symbolically through a guitar.
Danny DeVito truly shines as Sam. No other actor can invoke a sense of raw sorrow while also making an audience laugh as he does. DeVito’s portrayal is uniquely him, and that is what makes the production so special. It felt as though this role was crafted for him. And with his daughter Lucy as Amelia, it’s even more apparent. Both have a recognizable chemistry that is a no brainer. Adding in Thomas makes them a perfect unit.
In terms of aesthetics, “I Need That” is visually strong. The set design nails the essence of the chaos and clutter of a hoarder’s home which greatly reflects the inner turmoil. Additionally, when certain items are highlighted in the show, you can’t seem to forget them. Your eyes tend to wander to see if they’re still in their spot, and they are. There’s a great amount of consideration for how hoarders are able to accumulate items. Everything is woven together, and “I Need That” reflects heavily on that sentiment. The lighting was another major key to the story. Low dims and striking balances of colors for certain scenes enhanced the overall emotional impact. It wasn’t only the performances you were moved by, but the entire creative direction of the show.
The most beautiful part of “I Need That” is that Sam’s stuff is not matter, but memory. For example, a board game holds the memory of his late wife. It’s not just in this board game, but every object that surrounds him. Sam learns though her memory is not only in material things, but in Lucy as well. It’s this revelation that allows him to finally take back his life, and step outside. This play is an emotional tale that reminds us that trauma manifests itself in different ways. A lesson we can learn from this is to always lead with empathy.
Tickets to “I Need That” are available now. The play is now running at the American Airlines Theatre
When Carolina de Castiglioni penned Syrma, she had no idea it would land her an opportunity to participate in the New York Theatre Festival in June 2020. The contemporary, Greek mythological, tale is Castiglioni’s debut play; though as an actor, she’s no stranger to the theater world. Following a reading of Syrma at the Center for Italian Modern Art on May 20, The Knocktural was able to chat with the NYU alum and hear how Syrma came to be.
A play about a group of people in therapy may just be the most relatable thing in today’s world.
In Second Stage Theater’s Broadway production of THE THANKSGIVING PLAY written by Larissa FastHorse of the Sicangu Lakota Nation, directed by Tony Award Winning Director Rachel Chavkin, this play uses humor and absurdity to address our society’s inability to recorrect it’s happy “peaceful dinner” narrative to the brutal reality of how Indigenous communities that have been massacred, brutalized, and erased from American narratives and especially their own land. With a star filled cast including D’arcy Carden (TV’s The Good Place and A League of their Own), Award Winner Katie Finneran (Noises Off, Promises Promises), Scott Foley, and Chris Sullivan play teachers and actors in real time trying to figure out how a cast of all white people can effectively honor the voices of Indigenous people and their history. With a script that reflects the many conversations and efforts of out “artistically inspired allies” that is highly aware of its time and place living after the BLM movement, FastHorse tactfully writes a story centering white bodies and their allyship (even if it’s performative) to highlight the American discomfort that comes with the truth of Native American History.
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