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One of the things drama does so well is to make us think and feel about the vectors a society is following. And one of the things happening in our society that drama needs to address is our headlong rush into technology with a personality verging on personhood. Proxy is a thoughtful and perceptive consideration of that rush.
All politics is personal, as the saying goes. Seldom is this point made with greater dramatic clarity than in Miss You Like Hell. The ending is powerful, but because of the politics. Miss You Like Hell illustrates, in a very personal and detailed way, how deportation policies damage and destroy lives and families, even away from the border. An enjoyable and uplifting evening of theater.
Bright Half Life is presented in a totally nonsequential fashion, and at nearly breakneck speed much of the time. We are left to piece together the whole story from dozens of fragments that appear and pass quickly, which can be both exhausting and exhilarating. And not just for us in the audience; this calls for enormous flexibility on the part of the performers too. Moments of ecstasy are juxtaposed with moments of terror, joy and sadness arrive cheek-by-jowl, and certain incidents are repeatedly revisited. The two performers must be emotional quick-change artists, and I found myself amazed watching as Ayesis Clay and Katharine Vary worked their way intrepidly through those changes.
The title Perfect Arrangement refers to the compact of a male gay couple and a lesbian couple to hide in plain view from the disapproval of the world in 1950 by posing as two straight couples living in adjoining halves of a Georgetown duplex. The two halves are secretly connected through the residences’ respective front closets, a passage that enables each real couple to reunite at night, unnoticed by the world outside. Such a setup is custom-made for farce.
Keeping us gasping is what Cabaret in all of its incarnations has always been about. Gasping at the opulence, gasping at the decadence, gasping at the heedlessness and the horror. It is intentionally strong stuff, and if it delivers, then it succeeds. And by that yardstick, this version, whatever it may or may not owe to its predecessors, is a smashing success.
I lived in London and Vienna before coming to the United States, and grew up mainly in Ann Arbor. I was writing plays and stories as early as grade school. My undergraduate years at the University of Pennsylvania, where I first reviewed theater, for the college paper, were succeeded by graduate study at the Johns Hopkins University, where I earned a doctorate in English Literature.
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When you submit your email below, you'll receive emails from me with notificaitons of new theater reviews posted to this site, along with announcements about my plays, including my forthcoming book.