Edie’s Got a Gun
The kids are all right, all by themselves:
My review of Crowded Fire’s Edith Can Shoot Things and Hit Them is on KQED Arts. Read more
Bride of Fishingstein
It’s my first show of the year, and it’s a good one: Marisela Treviño Orta’s lyrical fairytale set in a Brazilian fishing village.
My review of AlterTheater’s The River Bride is in today’s Marin Independent Journal. Read more
Pageant Nation
Stop me if you’ve heard this one before. A left-wing blogger and a right-wing congressional aide wake up in a hotel room in various levels of undress, with no idea how they got there. The door is locked and their cell phones are gone. It turns out they’ve been abducted by an immaculately poised Georgia beauty queen who wants them to help her rewrite the United States Constitution.
What We Talk About When We Talk About Talking
What exactly is being communicated, and how is it different from what’s being said? For that matter, why’s it being said the way that it is? These questions underlie a lot of the conversations in Precious Little, the latest show at Shotgun Players, but they’re questions that could as easily be asked of the intriguing, entertaining and elusive play itself. It’s written by Madeleine George, a New York playwright whose work I’m not familiar with, but I’m delighted to see that another one of her plays is titled Seven Homeless Mammoths Wander New England. She’s also from Amherst, Massachusetts originally, just like Circle Mirror Transformation playwright Annie Baker—or like Emily Dickinson, for that matter.
