The Flea Theater offers plenty of volume with six plays and a cast of more than 50. But the biggest bargain is seeing the young cast of Bats.
Off-Off-Broadway Review
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The fantastic production is a brilliant visual and aural exploration of memory and perception that requires no supplemental support to convey its message.
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Based on the experiences of Irish gay men who came of age in the mid–20th century, the musically challenged show is lugubriously sincere, preciously artless, and a blinding bore.
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Playwright Daniel Meltzer makes a game try at breathing new life into a bygone format, the well-made romantic comedy, but ends up with pretty weak tea.
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This eroticized electro-opera about Christian chastity has loud fun but peaks early, a victim of its lack of a defined storyline.
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The Altoona Dada Society Presents 'The Velvet Gentleman'
Ambition overreaches ability in Jon Steinhagen’s split-personality comedy about the backstage tribulations of a theater company attempting to perform a Dadaist biography of Erik Satie.
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Arlene Hutton has written some good plays, but “Running,” a two-hander about a late-night reunion between two 50-something ex-flatmates, is a yawn.
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A Gilgl Fun a Nigun (The Metamorphosis of a Melody)
Rafael Goldwaser, founder of Strasbourg's Le Théâtre en l'Air/DerLufTeater, stars in this solo multimedia adaptation of I.L. Peretz's story about a melody's evolution.
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Marilyn Monroe: Wouldn't It Be Fascinating
Writer-director Erik Zambrano's rumination on the cost of fame, the loss of identity, and the mystery of desire loses itself in a nontraditional style of presentation that never connects with the audience.
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A Raisin in the Salad: Black Plays for White People
Kevin R. Free's post-racial comedy features some fine performances, but uneven writing and glacial pacing make it a wearisome endeavor.
