“The streetcar named Desire”
Often we “dear God, the 'tram' again? “I asked. And I remember that in many cases the unforgettable tales of Williams, Tennessee's desire and violence are often presented as masterpieces. The London import directed by this latest production, Rebecca Flecknall (Cabaret) stars Paul Mescal (Gladiator II) and Stanley, Patsy Phelan (Miss Austin), Blanche and Anjana Versant as Stella. In a New York Times review of the first run of this production, Matt Wolf described it as “deeply empathic” and was provided by a “momentary” ensemble cast. (Brooklyn Academy of Music until April 6th)
“Wine in the Wilderness”
A necessary and prominent rediscovery of Alice Childress' work continues in this film, directed by Tony Award winner Rachanze. Set in Harlem in 1964, riots turned the city red, and “Wine in the Wilderness” actually premiered on Boston's public television in 1969 as part of a series entitled “Being Black.” The story centers around the relationship between the painter (Grantham Coleman, “Nothing,” the wonderful Benedick of Shakespeare in the Park) and his model and the Muse (Olivia Washington). (Classic Stage Company until April 13th)
“Deep Blue Sound”
Set in a close-knit community in the Pacific Northwest, this seemingly simple play about Abe Coogler's Orcapod's mysterious loss disappear appearance requires a strong cast to evoke group relationships and bring the show to life completely. That was the case at Premier Productions a few years ago as part of Club Bedsam Company's Summer Works series. Fortunately, some actors led by the mysterious Mary Ann Plunkett have returned to this Encore run to add appropriate additions to Mia Katigbach and Miriam Silverman (Tony's winner of “Sydney Bulltein's Window Sign Window”). (Public theater until March 29th)
“Have you met Jane Goodall and her mother?”
In 1960, Jane Goodall set out at the age of 26 in Tanganyika (now Tanzania) to study chimpanzees, but the country's government still needed chaperones. Goodall took her mother Vanne. Researching that story, playwright Michael Wareck discovers that the two women like and get along well with each other, so at least his comedy should not rely on an excessive ratio of pent-up mother-daughter accusations. Bonus: There are dolls. (Ensemble Studio Theater until March 30th)
“All Nighters”
One of Spring's most interesting ensembles is assembled with Julia Lester (“In the Forest”), Kathryn Gallagher (“Jugged Little Pill”), Christine Froses, Aria Chanel Scott and upcoming stars Havana Rose Lew (“Bottom” and upcoming nutritious screen projects). They portray friends and roommates assembled by talented cartoon playwright Natalie Margolin for an entire night studying marathons fueled by Adar, Hummus and Kibidging. (Until May 18th, Robert W. Wilson MCC Theater Space)
“I repeat myself.”
Sometimes you can literally take the title. The protagonists of this new autofiction show are portrayed by five actors: Matthew Antosi, Alma Cuervo, Ennet Fremont, Frankie Prasidi and John Norman Schneider (“Poor Yella Redneck”). In a series of vignettes, we meet a refracted version of Kaido and his family, especially the sisters who appear slowly as focus. This mild, slightly depressing production, staged in the round by Carsen Joenk, appears to suggest that intimacy is difficult and there are no six ways to do it. (Until March 15th, bricks)
“Pervert (or how to stop your child from ruining your great uncle's funeral)”
Since his home country invaded Ukraine, Russian director Dimtory Klimov has lived in exile in New York, and now he is creating works very simply, unlike the rest of the town. In 2023, I watched “Big Trip” based on the texts of Pushkin, Hemingway and O'Neill. Now he returns to La Mama with a new show he wrote in collaboration with his company Krymov Lab NYC, which is said to explore grief in the veins of surreal, dark cartoons. Of course, what we are interested in is that Klimov, who can wonder from simple props, this time pulls out of his hat. (March 7-23, Lamama)
“Vanya”
It appears that New Yorkers will not be able to go for several months without another dose of Chekhov, and “Uncle Vanya” is a big favorite. The two, which appeared in the heels and lofts of the work that Steve Carell discovered, feature this British import that combines star power and intimacy, as Andrew Scott (Our Stranger, Ripley) takes on all the characters. Adapted to Simon Stevens, who used modern slang and made other tweaks of older professors into filmmakers, London Iteration, directed by Sam Iteration, won the Best Revival Award at the 2024 Olivier Awards. (March 10th and May 11th, Lucille Lortel Theatre)
“Cherry Orchard”
Another Chekhov will cross the Atlantic and land in New York this spring. This time, the big draw takes on the role of Ranevskaya, the charismatic patriarch of a landed family in need of cash, with extraordinary German actress Nina Hoss (“Tal”, “Back to Reims”). Homan Bearcutt, who wrote a review of the New York Times, which produced Donmar Warehouse in London, felt that “there is a lot to praise with this refreshing, playful narrator.” This is courtesy of Benedict Andrews. (March 26th – April 20th, St. Anne's Warehouse)
“We had a world.”
A year after his “Prayer to the French Republic” ran on Broadway and received Tony nomination for his best play, Joshua Harmon returns to another show about his family. His new drama focuses on three characters representing grandmother (Joanna Gleason), her grandson (Andrew Bath Feldman), and young man's mother (Janine Ceral), who are stuck in the middle. Since his groundbreaking play “Bad Jews” was performed in 2012, Harmon has demonstrated a lasting trick to breaking dialogue and family and relationships. Tighten the seat belt. (Until April 27th, Manhattan Theater Club)
