Tag Archives: Marina Pareja
The concepts of home and homeland—especially when they are no longer the same place— have become even more complicated in the 21st Century for Cuban-Americans highlighted in Hannah Benitez’ world premiere GringoLandia commissioned by Zoetic Stage, a gentle comedy woven with the struggles of a past that no longer exists.
The “horror” in Zoetic Stage’s Frankenstein shares little kinship with the film monster with bolts in his neck terrorizing the countryside or even the 1818 novel of science gone wrong. But a different very contemporary terror is there all the same from the breath-taking wordless prologue of a stitched together embryo clawing out of a pod to the silent final image of two bodies crawling through Arctic waste.
One definition of classic theater is a piece that not only remains popular or relevant through time, but which can be endlessly reinterpreted or restaged without losing any of its brilliance, Shakespeare’s work being the most obvious example. Zoetic Stage’s latest entry working its way through the Stephen Sondheim canon underscores how Sweeney Todd qualifies.