In 2017, “Syncing Ink” debuted at The Flea in Tribeca.
Hell’s Kitchen is a brand new musical born from the music and mind of Alicia Keys, as she shifts her songs to be experienced in a whole new theatrical way.
Anton Chekhov’s Uncle Vanya has seen numerous adaptations in theaters worldwide. This year, it graces the Vivian Beaumont Theater in Lincoln Center, bearing a fresh adaptation by Heidi Schreck and a star-studded cast. Though the original material was first published in 1897, this new rendition breathes modern life into the dialogue and direction, while retaining its social and cultural relevance.
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.
On March 3, A.R.T./New York Theatres presented The Maid and the Mesmerizer, a new play inspired by the Brontë sisters. Written by Patricia Lynn and directed by Jenn Susi, the two-hander details a high-energy love affair between a hypnotist and his assistant.
The improv troupe, 901 Innovation brought a new twist to the season with their 1st holiday show, “Taking On The Holidays” at The Producer’s Club in Manhattan’s Theatre District.
Rebecca Miller established the grassroots, non-profit Arthur Miller Foundation in remembrance of her father’s legacy. AMF helps teachers create sustainable theater programs by providing them with robust, customized resources, training, and certification. This ensures that all public school kids have fair access to high-quality theater instruction. The premier yearly fundraising event for the Arthur Miller Foundation, held in collaboration with the NYC Public Schools, The City College of New York, and Bridgeport Public Schools, is the Arthur Miller Foundation Honors.
The Arthur Miller Foundation hosted their 5th annual Honors event on Monday, November 6 at City Winery. The event was hosted by “Purlie Victorious” co-stars Leslie Odom Jr. and Kara Young.
Pulitzer Prize winner Martyna Majok was honored with the AMF Legacy Award. Majoke is best known for her piece “Cost of Living” which explores two relationships between able-bodied and non-abled body people.
Jerre and Mary Joy Stead received the AMF Humanitarian Award for their endless donations to arts education in schools across the country.
New York City public school Theater teacher Talia Jaime was awarded with the AMF Excellence in Arts Education Award for her work at Renaissance High School.
Performers of the night included Brian d’Arcy James, Justin David Sullivan, Phillippe Arroyo, Samantha Williams, and Jordan Donica.
This year’s gala honored playwright Lynn Cottage and educator Leonard Majzlin.
Review: ‘Purlie Victorious: A Non Confederate Romp Through The Cotton Patch’ is A Must Watch Revival
As the actors of “Purlie Victorious” step onstage in the first few minutes of the show, we see them set up furniture, share glances at each other, and talk so low that words can’t be made out. While that moment is brief, you begin to understand a great deal about them.
The original production of “Purlie Victorious” ran in 1961 and has never been revived until this year. Ossie Davis’ satirical comedy may seem a bit outdated, but the themes behind it are just as impactful as they were in the 60s.
Purlie Victorious Judson (Leslie Odom Jr.) is simple preacher who hires a woman Lutiebelle Gussie Mae Jenkins (Kara Young) to dress up as his long-lost cousin to trick harsh cotton plantation leader Ol’ Cap’n Cotchipee into giving them money to save the community church Big Bethel.
The revival, directed by Kenny Leon, is a marvelous tribute to Davis. Leon stays true to the original material completely from dialogue to overall creative direction. It’s a refreshing choice for the revival to remain on par with Davis’ vision. Furthermore, Leon proves his ability to translate a work from the past to be taken as something of our present. “Purlie Victorious” is about how communities are the catalyst for change, In this production, the community bonds over rebuilding Big Bethel, and today we come together though common interests and fighting for social issues that will change the future.
“Purlie Victorious” isn’t only about community, but it’s additionally about hierarchy and masculinity. Ol’ Cap’n is a white Southern man and his position in society is far greater than Purlie’s. Therefore, it’s up to him if the church shall be built. Ol’ Cap’n son Charlie (Noah Robbins) is viewed as shrill by his father. Their relationship is quite rocky as a result with Ol’ Cap’n often pressing Charlie to “man up.” Ol’ Cap’n represents the old-fashioned perception of manhood as bearing control over others. This is additionally personified by a leather whip he carries. Ol’ Cap’n’s ideology permeates into his relationship with his employee Gitlow Judson (Billy Eugene Jones). Ol’ Cap’n sees him as less than due to his whiteness and furthermore his manhood. The play examines traditional notions of masculinity and interrogates the ways in which power dynamics operate within society. “Purlie Victorious” challenges societal norms and invites the audience to critically reflect on the intersections of race, gender, and power.
Leslie Odom Jr. as Purlie Victorious | Photo by Marc J. Franklin
Leslie Odom Jr.makes an excellent returns to Broadway in “Purlie Victorious.” Odom Jr. brings depth and authenticity to every moment of the production, leaving a feel of awe throughout the audience. His delivery and nuanced expressions made the character come to life onstage. Davis originated the role, and Odom Jr. gives a touching tribute to the writer and performer. It was a true pleasure to see the award winning actor on stage since he left Hamilton seven years ago.
Odom Jr. and Kara Young truly outstanding together. Their chemistry on stage is palpable, bringing sheer authenticity to the story. Their communication with each other created a captivating dynamic that kept the audience engaged throughout the entire performance. Young’s dramatic portrayal of Lutiebelle, combined with her impeccable comedic timing, made her one of the standout performances in the show. She isn’t alone though, the entire cast delivered. It’s no surprise as they’re a number of eminent actors part of the production including Sanders, Jones, Heather Alicia Simms, and Vanessa Bell Calloway.
With its intricate set and historical costumes, “Purlie Victorious’” production design successfully transports the audience to the Jim Crow era. One noteworthy aspect was the attention to detail within the setting. Shelves are filled with props that exactly mirror the time period. The plot is made more vivid by the attention to detail, which also improved the immersion factor overall.
The entire cast of “Purlie Victorious” | Photo by Marc J. Franklin
All things considered, “Purlie Victorious” is an excellent production that deftly combines history, humor, and social criticism. It offers a thought-provoking and enjoyable experience while illuminating the difficulties experienced in a post-slavery society. The production design is striking, the script is brilliant , and the performances are outstanding. “Purlie Victorious” is a real gem that will make you think about the nuances of our shared past while also leaving you with a smile on your face.
Purlie Victorious will run until February 2024 at the Music Box Theatre. Tickets are available now.
Giving us all a well needed disconnect from reality, ROLL THE BONES (RTB) theatre company transformed audience members to simpler times with immersive theatre experience, No. 9.
A delightful excuse to bond, No. 9 is designed for pairs who are willing to unplug for an hour to escape into one of three worlds: Asheville, North Carolina in 1986, Redding, Connecticut in 2007 or where we ended up; in 1993 chilling outside of a trailer in Twentynine Palms, California with our host, Lynne. Before the experience began, each pair received a watch preset to go off after an hour; which marked the end of our visit.
It was a starry night in Twentynine Palms on October 13, and friends and partners were kicked back on lawn chairs with a cooler full of beers and powdered sparkling cider. In addition to the dim lighting, sounds of crickets and life like set; Lynne’s nomadic and welcoming spirit ignited an eclectic mix of conversations ranging from constellations, the vibrations crystals and humans share and the emergence of TLC.
Created and directed by RTB Artistic Director, Taylor Myers, and Michael Ryterband, No. 9 is “ a human-centric answer to the loneliness epidemic of the digital age.” The production was accompanied by a seamless shift to the Dead Letter Restaurant and Cocktail Lounge where audience memembers were served chili, pizza, and other comfort foods and cocktails.
Opened to the public on October 14, No. 9 is set to run through early November. Tickets can be purchased on their website.