Tag Archives: Carey Brianna Hart
Trump may have paraded his demeaning objectification of women by using the word pussy, but it’s a word celebrated over and over in Thinking Cap Theatre’s production of Collective Rage, A Play in Five Betties.
Playwright Jen Silverman and her disparate characters all named Betty use the term to reinforce the liberating quality of having pride in female sexuality.
Blood may be thicker than water, but Brothers of the Dust at M Ensemble asks whether it’s thicker than land or greed or, crucially, dreams. M Ensemble presented this family drama three years ago with the same director and lead, but that familiarity has paid off with a deeper, more assured and more affecting experience for the audience than the first rendition
Like the requisite ballet’s presentation of The Nutcracker, theater troupes have been turning over their Decembers as of late to holiday-themed plays: David Sedaris’s Santaland Diaries comes to mind. Unlike the wholesome Nutcracker many modern Christmas offerings are aimed at an adult crowd, taking the Ho, Ho, Ho of the holiday to a more mature level.
Thinking Cap Theatre sets The Importance of Being Earnest in a madcap lampoon of New York City’s disco era. The urbane and farcical elements are irreconcilably at war, but each facet – one of the funniest literate scripts ever written and a zany hoot of a production – is so strong on its own merits that the result is a mostly satisfying gigglefest worth the investment.
M Ensemble’s production of The Gift Horse has praiseworthy virtues and crippling problems that make it a mixed experience. But it does give the audience a long-delayed gift in Carey Hart’s scintillating, poignant performance as a witty but troubled woman seeking true love.
Sitting under a tent, sweating through the swelter, watching a faithful facsimile of a revival might not seem appealing to your everyday theatergoer. But bring an open mind to Thinking Cap Theatre’s play Church and savor a thought-provoking, exuberant even entertaining evening.
Mixtapes are by definition quirky, passionate, uninhibitedly self-expressive to the edge of self-indulgence, sometimes puzzling, sometimes touching, sometimes hilarious. Mad Cat Theatre Company’s theatrical/cinematic Mixtape 2 is all that — a compilation of playlets, snatches of poetry, music videos and short films by the region’s leading progressive, avant-garde theater.
Thinking Cap Theatre’s production of Nick Hadikwa Mwaluko’s Waafrika is a deeply earnest and illuminating if imperfect examination of the tragic toxicity of tradition. But even Waafrika’s flaws are washed away by one of the most harrowing finales seen on a local stage.
There’s more to Thinking Cap Theatre’s inventive The Rover than staging a 300-year-old play with oomph enough to keep a 21st century audience interested. What director Nicole Stodard (who is also the artistic director of Thinking Cap Theatre) has done is to craft an inventive, ambitious and quite delicious offering of England’s first professional female playwright’s navel gazing study of the dating games people play. And watching Stodard’s adaptation of Aphra Behn’s The Rover proves that the battle of the sexes hasn’t changed much since 1677.
The success of theater often depends on the audience plugging in their own experiences to enhance what’s happening on stage. So perhaps part of this reviewer’s hot-and-cold reception of Keeping A-Breast at New Theatre – an earnest, heartfelt examination of the agonizing upheaval resulting from breast cancer – is because I’m a man.