Recent Reviews
Review: The Threepenny Opera by Trinity University
by Michael Meigs
Published on November 19, 2015
Amy Rossini as the squalling, swiling, worldly-wise Mrs. Peachum doesn't court the audience so much as bowl them over with her pep, focus and singing.
It must be a thrill to perform in that jangly, dissonant and exuberant Brecht-Weil world of The Threepenny Opera, especially for college-age artists. It portrays a society turned upside down, one in which we're rooting for a an elegantly carefree, immoral and unrepentant thief and murderer. The wealthy and the bourgeois exclude and exploit the denizens of the Victorian underworld, and Macheath (the stylish Alejandro Cardona) hasn't the slightest remorse about beguiling and betraying the …
Nahum Tate, Knock-offs, Lear and 'Tatefication'
by Stephen Meigs
Published on November 18, 2015
Nahum Tate fits Willy Loman’s definition of a loser: “He was liked… but not well liked.”
Toward a Traditional Trampling of the Reputation of Mr. Nahun Tate The History Of King Lear, Nahum Tate’s adaptation of Shakespeare’s classic, was popular for 150 years. But that’s not his only claim to fame. Tate also wrote lyrics for a Christmas carol still sung today, “While Shepherds watched their flocks at night, ” here performed by the King’s College Choir in 2011. No Blanche Dubois, Mr. Tate had no use for strangers. He depended …
Review: To Kill a Mockingbird by Mary Moody Northen Theatre
by Michael Meigs
Published on November 15, 2015
To Kill A Mockingbird maintains Harper Lee's condemnation of petty, malevolent and racist small-town Alabama while holding out hope for the future.
Harper Lee's To Kill A Mockingbird is a comfortable and familiar story, an immediate success when it was published in 1960. My cousins in a small town in south Alabama were about the same age as Scout, the protagonist. They embraced the story and Harper Lee's sensitive portrait of small town life and the appalling effects of know-nothing racism. It took me a bit longer. First, because I didn't read the novel or see the …
Review: The Dumbwaiter by Capital T Theatre
by Michael Meigs
Published on November 12, 2015
The Capital T production capitalizes on the acumen and presence of Webster and Phelps, who with director/set designer Mark Pickell constitute a sort of Three Musketeers of edgy comedy.
Thin and yet deep, apparently superficial but disturbingly suggestive, Harold Pinter's The Dumbwaiter was his second play, a one-act written in 1957. The production by Capital T Theatre is accomplished, eerie and aggravating -- all of which are qualities that marked Pinter's works throughout a fifty-year career recognized by the 2005 Nobel Prize for Literature. Ill at the time and unable to travel, Pinter videotaped his Nobel lecture. In the opening passage he said, Truth …
Review: The History of King Lear, Nahum Tate adaptation by Hidden Room Theatre
by David Glen Robinson
Published on November 11, 2015
Beth Burns' version of Nahum Tate's reworked KING LEAR could be subtitled 'Restoration Cinematic Kabuki.' Strongly recommended!
The English Restoration was made in 1660, and 21 years into Charles II’s reign Nahum Tate premiered his History of King Lear in London. The play was a strong rewriting of Shakespeare’s King Lear, much to Restoration tastes. Tate’s tale of the mad, storm-crawling king with two treacherous daughters held sway on stages for 150 years, it is said, until there was something of a Shakespearean restoration. Thereafter, Tate’s version was effectively lost. Enter Beth …
Review: Into The Woods by Austin Jewish Repertory Theatre
by Michael Meigs
Published on November 07, 2015
The AJRT/TSP production of Into The Woods sparkles. This beautifully spare and animated production will be an award contender as an ensemble work.
What remains to be said about Into The Woods by Steven Sondheim and James Lapine? Musical theatre buffs marked the 28th anniversary of the Broadway premiere of their slightly subversive treatment of four fairytales from the Brothers Grimm this past week, the day following the opening of the production jointly sponsored by Trinity Street Players and the Austin Jewish Repertory Company. Last year Disney produced a relatively well received film with an all-star cast, a …