Tiger_main
ROARING INTO TOWN A killer is on the loose in New York City in Theater Tartare’s production of the Jose Rivera allegory about the AIDS epidemic.
More drama occurs around the phenomena of LOVE AND LUST, explorations of which abound in PF-12. A middle-aged priests returns to his hometown to investigate a miracle and reunites with an old flame in Conor McPherson's Come On Over, presented by the American Irish Repertory Ensemble. In Stop Kiss, produced by Shawna Houston, two young women in New York City find themselves and each other. On the end of love and gender, men doing a shingling job discuss the end of love, in What's Behind the Question's production of Think Like Water. Love, jealousy, and moral complexity entwine in dark ways in April Singley's production of Iobair, which promises raw shocks and surprises; while Krista Lucht presents Woyzeck, the German classic of a man too long exploited and dehumanized by the military, his doctors, and his love. Finally, love finds a more upbeat incarnation in Mad Horse Theatre Company's Makin' Love!, in which David and Christine plus guests aim to make us all believe in love again.

If that sounds like a dangerous proposition, let's turn to EVEN MORE POTENTIAL PERIL: A free-roaming tiger, for example, bleeds off New York citizens' sex drive and encourages them to stockpile guns and folklore, in Theater Tartare's production of A Tiger in Central Park. Danger is a bomb-laden bus in Speed, as in the movie, which it should be interesting to see Mad Horse pull off on stage; and in Erin Enberg's Desert Drinks, in which Las Vegas is accused of stealing a man's sunglasses, wallet, and youth, we can only guess that danger is man himself. Though really, what could be more treacherous than female adolescence? In Stacy Davidowitz's PINK!, produced by Cait Robinson, we lurch into the hysterical brutality of one summer night among 12 year-old girls.

6-Months-6-Weeks_main
6 Months 6 Weeks with ME Heart ME

The short format and seat-of-the-pants staging of a fringe festival makes it particularly suitable for showcasing ONE-PERSON SHOWS, and PF-12 offers several. The Mike Daisey exposé of Apple's Chinese factories, The Agony and Ecstasy of Steve Jobs, which has gotten lots of media attention for both its audacity and its fabrications, will be performed by Dramatic Repertory Company's Keith Powell Beyland. Michael Wood offers up another "giddy love letter to Maine," in the form of campy musical cabaret limning a bucolic Maine childhood, in ME Heart ME; and in another show built around songs, John Coons presents a new queer theater work called Six Months for Six Weeks. In The Complicity of Breakfast, White Flag Performance Group professes to use non-linear storytelling and "the theatre of the new millennium" to explore the structures of daily existence; and finally, Harlan Baker revives his treatment of organized labor in America, Jimmy Higgins: A Life in the Labor Movement.

feat_fringe_Aquitania1_main

The fringe of the fringe of the fringe

Here are four beguilingly strange-sounding shows that I'm particularly hoping to catch myself:

< prev  1  |  2  |  3  |  4  |  5  |   next >
  Topics: Theater , Portland, Theater, Theatre,  More more >
| More


Most Popular
ARTICLES BY MEGAN GRUMBLING
Share this entry with Delicious
  •   THE ELEPHANT IN THE ROOM  |  April 17, 2014
    Snowlion gets dark with a musical tragedy
  •   THE HYDROPHILIC LIFE  |  April 11, 2014
    The very winning world premiere of Underwaterguy , which Underwood both wrote and performs, runs now at Good Theater, under the direction of Cheryl King.
  •   THE PASSIONS OF PRIVATE LIVES  |  April 03, 2014
    Battle of the exes at Portland Players
  •   LEARNING TO HEAR, AND LISTEN  |  April 03, 2014
    The vicissitudes of identity and community are difficult negotiations in Nina Raine’s drama Tribes , dynamically directed by Christopher Grabowski for Portland Stage Company.
  •   THE DEAD DON'T LEAVE  |  March 28, 2014
    The complexity of familial love, regret, and shame, as seen between Charlie, who long ago moved to London, and his simple, sometimes confounding, working-class gardener father (Tony Reilly), are the crucible of Hugh Leonard’s Da .

 See all articles by: MEGAN GRUMBLING