Three Other Sisters
Three messed-up daughters convene after their cruel mother’s death in Enemies: Foreign and Domestic at Central Works.
My review is in the San Jose Mercury News and other BANG papers. Read more
A Garbled Communiqué
Paris youth are revolting in Cutting Ball’s verbose dystopian French play. My review‘s in the Marin Independent Journal.
Kreepy Kritters
It’s a madhouse. When you enter the Exit on Taylor to see Cutting Ball Theater’s world premiere of Krispy Kritters in the Scarlett Night by the company’s new resident playwright, Andrew Saito, there’s all kinds of unnerving behavior going on. There’s a legless old man in a wheelchair (David Sinaiko) hollering at people in a gravelly voice. Growling sounds pervade Cliff Caruthers’s sound design. An unstable-looking young man (Wiley Naman Strasser) is praying at the foot of a bed in the second floor of Michael Locher’s unnerving two-story set, with grungy brown walls and a white tile-lined staircase. A glamorous young woman (a magnetic Felicia Benefield) uses the bed to straddle some guy, a man in a suit (Drew Wolff) looks around fretfully, and people generally mill around in a volatile daze like inmates in an asylum.
Real Women Eat Quiche
When you arrive at the humble Phoenix Theater, tucked away on the sixth floor of a building around the corner from American Conservatory Theater and the Curran Theatre, you’re given a nametag. You’re attending a meeting of the Susan B. Anthony Society for the Sisters of Gertrude Stein, and your tag indicates you’re just one of the ladies.
Not for Love or Money
Cyndi Lauper sang that “money changes everything,” but Susan Sobeloff’s debut play Merchants seems to indicate that Lauper may have been selling money short. Money doesn’t just change everything—it is everything. It’s the only thing worth talking about.
