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Remember Philip Seymour Hoffman....
2017!
"Nutcracker Rouge"
CINEMASTAGE_FringeBlogNYC2014
FRINGE NYC 2013 - So Far!
2013 Starting the Year (January) With a Few Good Promises
Current THEATER Reviews - for 2013
"MANIPULATION" at Cherry Lane
Fringe 2012
Fringe 2011 (NYC)
onStage with "HERE COMES THE CHANGE"
Some Things in 2008 Worth Remembering: First "Happy Days" at BAM, then The Scottish Tale
Prior to 2007
Past REVIEWS: "OPUS"; "WALMARTOPIA", "DIVIDING THE ESTATE"
Angelica Torn
New York Timers - Friel's "Freedom"

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Theatre turns me ON! (Not the boring crap, though)
Crazy punker face

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Hello, again! ================================================
To our READERS: The following material (below) is from PAST Theatre Productions - prior to 2007. We at cinemastage.com are now remaking and updating our publication -
so Many Thanks for your patience in advance!
*********************** *********************** Review:
MEDEA comes to Broadway, having just done Chicago
From Ireland's Abbey Theater,with rage;
& the Brooklyn Academy of Music;directed
by Deborah Warner; starring Fiona Shaw & Jonathan Cake.
The following review of MEDEA originates from the BAM production:
Fiona Shaw is a wonderfully effective actor,with an
energy and intelligence that work up strong wonders
in the Brooklyn Academy of Music's presentation of this
version of the Greek tragedy, going on now through
12 October. As directed by Debra Warner, the production
moves at a brisk pace, heightened almost exponentially
by the expectation of impending doom, - though rather
than the doom itself, - i.e., from Medea's perspective, the
demise of a once loving marriage & family life
and its subsequently ferocious consequences.
What does hot, dissolute, passionate infidelity
do to a marriage, after all ? There is little point in
making comparisons & contrasts to other matters
of life, as repercussions are so various. Why the
"tabloiding" of moral scandal and psychological
disgrace when the ordeal is so personal to even
just one deeply vunerable, noticeably unstable
person (Medea gone over the edge)? This is a
question that this production seems to be suggesting.
The other question which may be asked is, - does
such curiosity naturally advance the overall mythic
quality of the tragedy ?
These and other relevant ponderings are worth noting.
Beyond that, it is important to consider that
Ms. Warner's staging is extremely fresh, if imperfect.
The matter of this production's brevity hints at a lack
of far greater exploration of relationships:Medea &
Jason, Medea & the kids, Medea & the nurse, etc. (That
is a matter of debate, perhaps). What is very captured
here for benefit of the contemporary audience is more
theatricality than pathos, more expensive production
(large budget) than story-telling simplicity.
There are moments, to be sure, when the horrors of
blood revenge come to life and sizzle; ultimately, this
MEDEA succeeds in becoming a shared moment for
all of us mortals - and concludes in a certain way by
having us piece out its imperfections with our very
own collective unconsciousness, sending us all off
afterwards to the safety of our own typically mundane
existences.

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DEMOCRACY IN ISLAM
Written & directed by Bina Sharif
Theater for the New City
155 First Ave., NYC {betw. 9th & 10th Street}
Performances: Dec 5 - 29, Thu-Sat @ 8 pm, &
Sun @ 3 pm
Life, as in our merely ordinary, everyday existence both in the USA or in other parts of the globe, was just recently reflected upon by Jimmy Carter as he spoke to the Nobel Award dignitaries in Oslo: "I am a citizen in a troubled world...."
This feeling is currently & skillfully expressed on stage right here in a town that only knows all too well the pain & horror of our collective wounds.
In an original full length play by the prolific actress, director & playwright Bina Sharif, downtown audiences have been witnessing a riveting work seething with ideas & densely variegated points of view so relevant to our times both as a community & a nation, that the mere thought of this new play, "DEMOCRACY IN ISLAM" - having to close after it completes its limited engagemant (a four week run), clearly defies common sense. "DEMOCRACY IN ISLAM" is acted with economy by a cast of nine players. Superb, unforgettable performances come from the fine character actor Kevin Mitchell Martin,(who, as one of the most seasoned in the entire cast, gives nothing less than a brilliant, mesmerizing turn: playing two extremely contrasting roles, Mr. Martin first appears as a nasty but articulate talk show host and later as a gentle, awe inspiring Islamic sage); next is the truly omnipresent Sharif herself. A supremely accomplished actor in her own right, one watches in complete awe as Sharif, in the memorable role of the mother Mrs. Safi, achieves a level of freshness and energized charm within momemts of appearing early in the first act(the "breakfast scene" with her two sons), and never lets go. Ms. Sharif's acting is pure stage magic that everyone should see. Other fine, articulate performances are turned in by Darrel O'Reilly and Gitta Citygirl.
This full length wonder holds up masterfully, - thanks to Sharif's sharp directing instinct. One becomes suitably immersed in this stage portrayal of a New York Pakistani-American family living (emotionally struggling) within the edgy and sometimes upsetting American confines of anger & resolution resulting from September 11. "DEMOCRACY IN ISLAM" is a work of well drawn characters deftly penned by Sharif as only Sharif can; the two hour plus production is graced by a set design rich in contrasts: visually striking Pakistani-style fabrics adorn the playing atmosphere, offset by western set pieces (TV Studio, Manhattan bistro). The wonderflly effective lighting design by Alex Bartenieff is the result of professional care and simplicity. It's fair to suggest that nowhere else in this city (or anywhere else) will you find a theater experience both touchingly humorous and dramatic such as this. See this play ! (Bern)
It is probably wise to reserve: 212.254.1109

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SOME THEATRICAL HIGHLIGHTS during this current season:
Broadway gave us Puccini ("LaBoheme") to the Manhattan masses (& other masses), and BAM brought "Uncle Vanya" &"Twelfth Night" to the Brooklyn masses (& other masses, too).
--*******---------------- ******* Theater Reviews arriving here soon;(First up: SLAVERY, then MINGUS, MINGUS)
NOTE: For a recent (August 2007) Theatre Review, Click on the LINK, "REVIEW of OPUS August 2007" at the Top of This Page.

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