With an impending election, today’s political climate is ripe for satire. Vortex Theatre answers the call with its timely production of David Mamet’s “November.”
When Jane Austen first wrote “Pride and Prejudice” in 1813, it was a rip-roaringly modern tale. Its fascinating, complex setting — the upper-class English society of the early 1800s — has largely disappeared in the two centuries since. Yet the novel itself has only grown in popularity, becoming a literary classic.
The Filling Station, one of Albuquerque’s more intimate theater spaces, is an unlikely candidate to portray the sweep, scope and scale of the Battle of Gettysburg, the bloodiest conflict of the American Civil War.
Theater audience members aren’t just spectators anymore — they’re “spec-actors” who participate in the outcome of the performance.
Terrorism becomes a source of comedy in Catherine Butterfield’s “The Sleeper,” a dark comedy about post-9/11 anxiety and paranoia.
Blackout Theatre Company’s newest plays each feature a two-person cast, minimal set, the use of a nursery rhyme, a phrase repeated four times and references to a house and season — but the similarities among them end there.
“The Men of Mah Jongg” is full of some great humor and occasionally resembles a senior-citizen version of Seinfeld, but at its core the play tells a moving story about facing the final chapters of life.
Though never completely boring, the Vortex Theatre’s production of “Speed-the-Plow” is a disappointment, failing to reach the dizzying heights of comedic potential in David Mamet’s outstanding script.
Bloodthirsty Macbeth and cruel, conniving witches seem more like a coward and dancing hippies in Aux Dog Theatre’s disappointing production of “Macbeth.”
Tales of the devil — and deals made with him — are a dime a dozen, and theater has never shied away from such stories.
Solutions by The State News
