Amy Sherald’s stylized portraits of black people at the Whitney Museum

Amy Sherald’s stylized portraits of black people at the Whitney Museum

Amy Sherald’s exhibit at the Whitney Museum is a collection of portraits of people who are black but who could be anyone from the nature of the lives they project: a worker, a tractor driver, a lady with a bicycle, an equestrian. And Michele Obama, which is what got Sherald some fame. The faces are flat, the flesh colors are black but cool. Sherald, born 1993 in Columbus, GA, shows what black people would look like sans racism. Workers. Doing sports. Being the smartly dressed wife of a president. (She also has a painting of Breonna Taylor.)

Caryl Churchill’s brilliant surrealism

Caryl Churchill’s brilliant surrealism

“Glass,” “Kill,” and “What If If Only” are smart Caryl Churchill plays, surreal metaphors of how people live as individuals and in societies. Of course, they are metaphors, and it takes Churchill’s inventiveness and director James MacDonald’s direct realistic portrayals to make them engage you. They were first presented in London at the Royal Court Theatre in 2019.

“Ghosts” is Hendrik Ibsen’s searing denunciation of 19th century bourgeois malevolence and hypocrisy

“Ghosts” is Hendrik Ibsen’s searing denunciation of 19th century bourgeois malevolence and hypocrisy

Moral hypocrisy never goes out of style, and Norwegian playwright Hendrik Ibsen was a master at demolishing it. “Ghosts,” then called Gengangere (“the ones who return,”) published in 1881 and presented at that time in Norway and the US, aroused the fury of the smug burghers on both sides of the Atlantic with its searing portrait of an honorable gentleman as sexual predator. Perhaps because Ibsen not only took on forbidden subjects such as sexual abuse and venereal disease, but because pillars of society such as clergy were shown to share guilt for the evil done to “polite” society’s victims.

“Purpose” a brilliant take on famous black political family in Chicago

“Purpose” a brilliant take on famous black political family in Chicago

Usually, I don’t like family dramas. But this one is different, not hokey or predictable. “Purpose” by Branden Jacobs-Jenkins has more twists than a corkscrew. Though the drinks here are hard liquor, not wine. And director Phylicia Rashad, also a fine actor, keeps the pace so fast but smooth that you almost run to keep up. It is a not-to-miss play by an author who has become one of today’s not-to-miss playwrights.

“Dakar 2000” is a sleepy political thriller about U.S. intelligence double-dealing

“Dakar 2000” is a sleepy political thriller about U.S. intelligence double-dealing

This slow-moving political thriller sets a State Department official in Senegal (or does she work for another agency?) against young Peace Corps volunteer who “reallocated” U.S. government bags of concrete to help build a community garden instead of fortifying his house against deep state expected Muslim terrorist attacks. (They haven’t happened.) She will send him home unless he cooperates on a plan to catch a purported terrorist. It builds slowly and gets exciting only in the last third of the 80-minute show.

“Redwood” soap opera about people who climb giant trees writes out activist who protested corporate logging

“Redwood” soap opera about people who climb giant trees writes out activist who protested corporate logging

The best part of “Redwood” is the realistic climbing and aerial dancing off and around the trunk of the massive tree. The vertical movement that blends contemporary dance and climbing was created by Melicio Estrella of the dance company Bandaloop. The performers use harnesses and ropes and instead of just climbing up, they move out and soar and twist like circus acrobats. The moments when Idina Menzel and other actors climb and fly out over the audience are thrilling.

“Gypsy” belongs to Audra McDonald

“Gypsy” belongs to Audra McDonald

From the moment Audra McDonald enters to blasting horn music this is her show. Forget the great actors of the past, Merman to LuPone. With superlative acting and a stunning soprano, in every number her voice soars. McDonald is not just a singer who acts, with deep feeling and expressive moods, but an actor who sings, and it takes the play to a whole new dimension.

“GATZ” at The Public shows, after 100 years, F. Scott Fitzgerald got it right

“GATZ” at The Public shows, after 100 years, F. Scott Fitzgerald got it right

Film director Joan Micklin Silver once told me that making a film from a book, she had to pull the movie out of the book. But here director John Collins has run the entire text of F. Scott Fitzgerald’s 1925 novel The Great Gatsby as a reading of Nick Carroway’s narrative and as drama only when dialogue pulls in the dozen actors. Even so, GATZ grabs you so you cannot leave a 6 1/2-hour production. At the end, I saw no empty seats.

“A Wonderful World: The Louis Armstrong Musical” great jazz, not story

“A Wonderful World: The Louis Armstrong Musical” great jazz, not story

Louis Armstrong was a sublime performer. This play is a great recreation of his music with terrific dancing, but it’s more vaudeville show than drama. It shifts quickly through his career as a black artist. Some interesting stuff about dealing with gangsters and Hollywood racism but too much about his four wives. Best is James Monroe Iglehart as Armstrong who has brilliantly copied his gravelly voice.

“Our Town” 1938 play about middle America is boring soap opera today

“Our Town” 1938 play about middle America is boring soap opera today

Director Kenny Leon has cut Thornton Wilder’s 1938 play from 3 hours to 1 hour 40. I was grateful. The play on the life of small-town America covers the years from 1901 to 1913. For the period, gas lamps are hung out over the orchestra. The set is made of wood chairs, a weathered wall, an old spinet piano. But the town seems sealed in glass, with no references to the outside world.

“The Hills of California” powerful drama of the destruction of working-class women’s dreams

“The Hills of California” powerful drama of the destruction of working-class women’s dreams

The hills of California in Jez Butterworth’s engrossing feminist play are not real but mirages in a story of working-class dreams and desperation. It’s 1955, and Veronica (Laura Donnelly) is consumed with making her four young girls a world-class music success. Like many a Mama Rose, her chief goal appears to be liberation from her own life, which is a running a Blackpool B&B called “Seaview,” from which you can’t see the sea. I say “feminist” not because I think the author claims that but because it is about the destruction of women by the patriarchy of the time.

Claude AI distorted my review of “McNeal,” of playwright using AI

Claude AI distorted my review of “McNeal,” of playwright using AI

“To Claude AI: Please write this theater review in the style of critic Lucy Komisar.”

Lucy Komisar’s Theatre Review: “The Plagiarist’s Dilemma.” [My comments in italics.]

Jacob McNeal’s latest play, starring Robert Downey, attempts to grapple with the thorny issues of AI, plagiarism, and literary integrity, but ultimately falls flat in its execution. [Well, not totally flat.] The production, which feels more like a disjointed television serial than a cohesive theatrical experience, meanders through a series of scenes that fail to captivate or provoke. [Not true by the end.]

In “Yellow Face” a twist about anti-Asian racism turns a fiction into reality

In “Yellow Face” a twist about anti-Asian racism turns a fiction into reality

The under-story of David Henry Hwang’s play is more important than the obvious story line.

In this compelling autobiographical work, DHH (a strong Daniel Dae Kim, playing Hwang), tells how he challenged a decision to cast white British actor Jonathan Pryce as the Eurasian pimp in “Miss Saigon.” Pryce is shown with taped Asian-style slanted eyes. In the play, a Vietnamese woman, 17, who turned to prostitution to survive, kills herself so the child she had with a soldier can go to America. How racist is that! Send the kid to the wonderful country that destroyed yours!

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