The last time Taylor Mac was in town, he gave us the five-hour Lily's Revenge with glitter, drag queens, a cast of 40 and so much dazzling theatricality that we were able to withstand his absence in the following three years (read my Lily's Revenge review here)
Mac has continued to wow audiences in shows like his two-man outing with Mandy Patinkin or La Ma Ma's acclaimed The Good Person of Szechwan, but the Magic Theatre was able to lure him back to present the world premiere of something entirely different than Lily's Revenge. This time out, Mac is the playwright of HIR (pronounced like "here"), a fairly traditional two-act, two-plus-hour play that seems like a sitcom filtered through Mac's gender-fluid, ragingly intelligent, funny and passionate artistry.Read More
The new year begins with an intriguing, nearly under-the-radar collaboration. American Conservatory Theater and Campo Santo have jumped into the ring formed by Magic Theatre and dubbed Sheparding America, a far-ranging celebration of Sam Shepard that promises to flare for years to come.
Co-directed by Campo Santo's Sean San José and ACT's Mark Rucker and performed in the near-round at ACT's Costume Shop, Holy Crime: Rock 'n' Roll Sam Shepard is an amalgam of Shepard texts with an infusion of live music. The prologue and epilogue come from 1969's Holy Ghostly and the big chunk in the middle comes from 1972 Tooth of Crime (which Shepard revised in 1997).
The best part of the 85-minute show is...Read More
If you’re looking for the year’s best, you can shorten your search by heading directly to Word for Word, that ever-amazing group that turns short works of fiction into some of the most captivating theater we see around here. This year, we were graced with two outstanding Word for Word productions. You Know When the Men Are Gone – Word for...Read More
By all rights, the Magic Theatre's season-opening production of Buried Child by Sam Shepard, the man who helped build the Magic's national reputation during his 12-year stay from the mid-'70s into the early '80s, should be a triumph. Continuing the five-year Sheparding America celebration of the writer's work, the production should be a potent reminder of just how electrifying, unsettling and beautiful Shepard's writing can be.
This is not that production.Read More
Safe to say you're not going to see anything like Mark O'Rowe's Terminus, the aptly named conclusion to Magic Theatre's 46th season. If you saw O'Rowe's last show at the Magic, the extraordinary Howie the Rookie 13 years ago, you'll know to expect vivid, visceral language delivered in monologues. That seems to be O'Rowe's specialty, along with depicting the rougher edges of Dublin with a strange sort of compassion and a gift for elemental storytelling that grabs hold and won't let go.
While Howie operated in a familiar street thug/crime world setting, Terminus is something altogether different. Like one of his three characters in the play, O'Rowe pushes himself out on a precarious limb and leaps. There's a distinct criminal element here as well, along with descriptions of violence that are somehow more vivid and horrific than if we were actually seeing them, but there's also a supernatural, even spiritual, aspect to the play that is remarkably moving.Read More