 Intelligent, Edgy, Clever, Ambitious, Great acting See it if You love language & brilliant actors plying their craft in a stripped-down Shakespeare that concisely cuts to its essence, truth & heart. Don't see it if You like your Shakespeare straight – unabridged & full of artifice, & don't care if you miss the disarming, exhilarating Lisa Wolpe.
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 Dull, Insipid, Excruciating, Disappointing, Cliched See it if You'd like to support a young, inexperienced & eager cast & crew in their OB and/or NY debuts; if you're a fan of shows like Rent. Don't see it if You expect memorable or original music, lyrics, dialogue, choreography, direction, or actors cast that can really sing.  Thought-provoking, Relevant, Intelligent, Great acting, Absorbing See it if Thoughtful important work by an ambitious,socially responsible company interests. A flawed play in a difficult space realized by a fine cast Don't see it if Serious drama or intent, or stage-neglected women's issues & concerns led, acted & directed by very strong, terrific female actors bore you. Thoughtful important work by an ambitious, socially responsible company; a serious drama of stage-neglected women's issues & concerns led, acted & directed by very strong, terrific female actors. The Seeing Theatre’s current production of Getting Out, in repertory with Ionesco’s Rhinoceros in a pairing meant to explore issues of nonconformity, is an intelligent if uneven play in a difficult space, with performances that are so deceptively normal and well absorbed that it’s easy to forget one is watching actors plying their craft onstage. The evening mostly belongs to the women, however, an unfortunate if ultimately rewarding imbalance in this case, since it’s rare to see a strong cast of female actors taking on issues of identity and survival so convincingly. Erin Cronican, who directed, also plays Arlene, whose troubled experiences and readjustment to post-prison life move the action, with a controlled pathos that’s never sentimental. A final scene with the fine Jane Kahler touches the heart unexpectedly, a moment notable for its raw, vulnerable honesty and truth. Carla Brandberg’s Mother is unnervingly real and compelling, while Candice Oden as Arlie, Arlene’s delinquent younger self, attacks her role with a strident energy that hopefully will mellow with time and experience. Of the men, only Steve Carrieri’s moments as the greasy and truly evil Carl stand out, and mention must be made of the truly unconvincing rape which is surprising for its weakness in this otherwise well-staged drama. Still, thanks are due to Erin Cronican and The Seeing Theatre for taking on such a challenging work and raising awareness about a rarely discussed and long-neglected topic which affects women most of all — whether trapped in the penal system themselves, or trying to deal with and nurture those loved ones who are or have been. — August 5, 2016  Thought-provoking, Relevant, Intelligent, Great acting, Absorbing The Seeing Theatre’s current production of Eugene Ionesco’s Rhinoceros, running in repertory with Marsha Norman’s Getting Out at the Lynn Redgrave Theatre, is an inventive if uneven interpretation, well-intentioned and played full-out by a fine cast. Set in a current and vaguely American present — characters occasionally checking their smart phones or iPads from time to time — Ionesco’s 1959 absurdist, existentialist exploration of will power, conformity and individual choice is a timely thing. Anyone thinking otherwise need only glance at the vagaries of the current election cycle or, even closer to home, simply clock the phone zombies around while navigating the city. On a recent subway ride, this observer noticed nine of ten riders immediately around focused and tethered to their electronic devices, oblivious. Herding instinct indeed. Brandon Walker, a co-founder of the company who also directed, is cast as Berenger. His unkempt, laid-back and unhurried manner sets the tone, heart and pace for much of the evening, well contrasted by Logan Keeler’s sharp, well-dressed and mannered Jean. Their differing views on life-style, living and philosophy propel the first act, setting up the transformations that ensue, Keeler’s gradual change a convincing surprise. Ionesco’s script, thick with verbiage and concept, is difficult to pry away from the polemic it slips into time and again, with the result, particularly towards the end as Daisy and Berenger wrestle with their relationship, that some scenes and dialogue are tight and focused, others completely opposite, flat and at times seeming almost underrehearsed. Despite its shortcomings, however, it’s good to see Ionesco taken head-on, especially with such enthusiasm — apparent hallmarks of this fine actor’s company doing intelligent, socially relevant work. — August 5, 2016 |
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