Relativity

At she bonds with Einstein, Harding segways from Einstein’s work to his personal life. She speaks about a child he had in 1902 who was never spoken again after 1904. Here playwright St. Germain fictionalizes about what happened to the baby and what Harding’s connection is to that happening. Einstein’s reaction to that baby, now a grown women, and to that women’s child, a genius savant makes for a compelling story.

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Black Pearl: A Tribute to Josephine Baker

What makes this biomusical work so well is the combination of terrific period dance numbers depicting traditional vaudeville, ragtime, and roaring twenties dances with outstanding performances by the two Josephine Bakers. We see Joan Ruffin, as the older Josephine as she narrates the Baker story deftly until she ‘becomes’ her. But the real star is Aerial Williams as the younger Josephine. Aerial is a true beauty, a fabulous dancer/singer and an exquisite actor. She has a terrific stage presence that becomes electrifying. She has charm to spare yet is tough as need be. Aerial Williams gives a star-studded performance here.

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Things to Ruin: The Songs of Joe Iconis

Wikipedia would have us believe Things to Ruin is “A rock concert about young people hell bent on destruction and creation,” but it’s unlikely Wikipedia saw the production I did. For me, at its worst Things to Ruin is about a group of former high school theatre nerds (I use the term affectionately), now grown into struggling actors and wayward young adults, who hang around a bar exorcising the ghosts of their Emo years while bemoaning the failures of their present. At its best, the show sometimes manages to transcend the hallmark sound of musical theatre, relay a sentiment not entirely infantile, and actually land in genre (though typically it does not stray far from the roots of Rock). At its best, Things to Ruin is very good; at its worst, it’s mawkishly sentimental. The good news: it’s more often at its best.

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Into the Empty Sky

The stand-out performances, I noted, were experienced Trap-Dôrsists Halie Ecker, Marzena Bukowska, and Kelsey Rhiann Shipley: their presence had that sine qua non quality—in their physical movements; the credulity in their eyes; and, most especially, the expressive skill of their voices that transcended the “poetry” of the poetry to communicate its meaning clearly (cf. a coherent Shakespearian actress).

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Objects In The Mirror

Objects In The Mirror is his best to date!. This work is based on the true experiences of Shedrick Yarkpai, an actor living in Australia and a former immigrant from West Africa. Charles Smith met Shedrick Yarkpai when he played in Smith’s Free Men of Color in Adelaide, Australia. The actor and the playwright became friends and, over time, Shedrick Yarkpai told Smith his story of his more than ten year journey from war-torn Liberia as well as migrant camps in Guinea and Cote d’Ivoire to Australia.

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We’re Gonna Die

In 60 minutes we hear about a peculiar older man lulling himself to sleep with the phrase, “I’m a piece of shit” (the most intriguing story of the night); we hear how childhood friendships can sadly end spontaneously without any reason; we hear the advice of a grandmother who talks about growing old, losing one’s mind, and seeing everyone you know die; and we hear even more advice from a 30-something divorcée (whose ex was scum) who consoles our Singer with the knowledge that someday we will die, the pain will end, and someone will cry for us. Surely some weighty stuff.

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Paradise Blue

With original trumpet jazz music played in part by Al’ Jaleel Mcghee, the actor-musician playing Blue the owner of the Paradise jazz club in 1949 in Detroir’s Black Bottom neighborhood, playwright Dominique Morisseau has mounted a haunting urban drama. This is an enticing work with strong characters each caught in an urban struggle that finds city hall moving to displace a black neighborhood for an Interstate Highway. Black Bottom was home to dozens of jazz night clubs where black musician could play and develop their craft uninhibited.

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Tight End

In small town, Midwest, USA, football is based on tradition, on which then legend itself is built: just ask Ash’s late father, whose name became legend and his story myth after he beat the town’s rival football team during Homecoming so many years ago. Ash Miller (Bryce Saxon) wishes to live that legend—or, rather, she only wishes to play the sport she loves with the same hustle and success as her father—but as herself, regarded as her own person.

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