Tag Archives: Evelyn Perez
Susan J. Westfall’s Two Weekends and a Day at New Theatre is a classic example of a world premiere that has admirable virtues worth exploring further, but a serious need for more re-tooling.
The overall picture may seem a bit disjointed and fuzzy, but the world premiere of The Cuban Spring at New Theatre incisively depicts the complexities of Cuban-American families in modern Miami as their American-born generation conflicts with parents struggling with ghosts of their birthplace.
New Theatre’s world premiere of Megan Breen’s examination of sexual repression and liberation, My First, My Fist, My Bleeding Seeded Spirit is a well-intentioned but overheated, self-indulgent, ham-handed, pretentious misfire.
The quality of New Theatre’s work is famously variable, but every season or so, they deliver a moving, finely crafted gem of theater to be unreservedly proud about. In this case, it’s the production of Nilo Cruz’s, A Bicycle Country, a lyrical tragedy about three friends who escape Cuba on a raft.
Comedy. Tragedy. Absurdist farce. Subtle satire. Family drama. Sociological tract about race relations. Juan C. Sanchez’s world premiere Property Line at New Theatre encompasses all these and more in an intellectually intriguing, promising script that needs a lot of work before it will gel into a satisfying evening of theater.