Word: off-broadway
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After 9/11, my father quit his job at an airplane company in Montreal, and my mother started a job at an off-Broadway theater in New York—a few blocks north of Ground Zero. The first play she produced there, "The Guys" by Anne Nelson, was about a journalist who helped a fire captain write eulogies for men lost in the North and South Towers...
...numbers, the mysteries of life can be revealed,” claims the cast of “Adding Machine,” the Off-Broadway musical making its New England premiere at SpeakEasy Stage Company, where it will run through April 10. Unfortunately, the musical fails to deliver any illuminating observations on either numbers or life’s mysteries. An adaptation of Elmer Rice’s 1923 expressionist play of the same title, “Adding Machine” tells the story of Mr. Zero, a downtrodden worker whose life suddenly collapses. What follows...
...What's more, producers say business plays can draw a bigger crowd than other productions. Susan Gallin, who produced in the mid-1980s the off-Broadway hit Other People's Money, about corporate raiders, says she remembers more men in the audience of that play than in others she has worked on. "There is an audience for business plays that just doesn't exist for other plays," says Gallin...
Time travel is hardly a stylistic innovation in theater these days. One pretty good new off-Broadway play, Clybourne Park, dramatizes the racial changes in an inner-city Chicago neighborhood by twinning two scenes 50 years apart: the arrival of the neighborhood's first black family in 1959 and the invasion of the first gentrifying white couple in the now all-black neighborhood in 2009. But When the Rain Stops Falling goes far beyond such schematic parallelism. Bovell's time-hopping structure is intricate but surprisingly natural - never strained or purposely obfuscating. Rather, as in the works of Faulkner...
David Cromer - the Chicago-based director who won acclaim for his recent off-Broadway revival of Our Town - handles all this with sensitivity and solemnity. (This is a real rara avis in New York theater: a play without laughs.) A cast of mostly Americans (among them Mary Beth Hurt and Victoria Clark) conveys the British and Australian milieus with as much authenticity as you're likely to find on these shores. The play is unrelievedly bleak but with a denouement of unexpected hope: a moving, almost revelatory evening of theater, and easily the best new play of the year...