REVIEWS

Full of wry bitterness with a bizarre sense producing black humor both funny and tragic, Virginia Woolf’s dialogue is razor-sharp and facetious, often at the expense of anther’s feelings. It is a deeply cynical play about the lack of human communication in the most basic of relationships: marriage. Disappointment and melancholy overpower the characters as they continue to place their faith in their imaginary worlds. Dissatisfaction and depression grips them.

Muerte Del Maestro has moments of theatrical innovation – a 2-person bull costume comes to life and shadow puppets added flavor to the show despite the constant blackouts that slow the pace of the show. My biggest complaint – and this one is easily corrected – is why the actors feel they need to shout at the top of their lungs on such an intimate stage?

Based on Langston Hughes’ African American classic Black Nativity, McKinley Johnson’s takes on the birth of the Christ child is most African-Middle East oriented with five new gospel/blues songs by Jaret Landon. This well song show also features Kevin lega Jeff’s sensual traditional choreography and movement. The show is rooted in its unique perspective and solemn, emotionally rich songs.

You’ll have to attend the show to see how each of the four resolve their moral dilemmas. Does truth and justice prevail or does cowardice and deceit rule here? Lonergan’s script is believable and his characters are forever changed. The Redtwist Theatre’s production is uniquely staged and it features nuanced and rich performances from Michael Pogue, Maura Kidwell and Eric Hoffman. I particularly liked Andrew Jessop’s smart comic timing in the debates with William. Jessop has disarmingly coy ability to charm and exude empathy from a character that serves him nicely in this show.