Who:Bill Irwin What: Livestreams of updated show Where:Irish Rep online When: November 17-22, suggested donation $25 Why: In my October 2018 review of Bill Irwin’s mostly one-person-show, On Beckett, at the Irish Rep, I wrote, “Irwin adds fascinating insight to [Samuel] Beckett and his oeuvre, discussing the Nobel Prize winner’s punctuation and pronoun usage, his identity and heritage, the possible influence of vaudeville on his work, his detailed stage directions, and other intricacies. . . . Irwin is a delight to watch, his passion for Beckett infectious. He occasionally goes off topic in comic ways, wrestling with a microphone and toying with the podium, but he eventually gets back on track for an enchanting piece of theater about theater.” Irwin (Old Hats,Who’s Afraid of Virginia Woolf?) is now revisiting the play, updating it in this time of pandemic lockdown, in a Covid-19-sensitive version he codirected onstage at the Irish Repertory Theatre with M. Florian Staab; Brian Petchers served as director of photography and editor, with set design by Charlie Corcoran, lighting by Michael Gottlieb, and music and sound by Staab. Irwin’s revised take on Waiting for Godot could probably make a show all its own. The seventy-five-minute On Beckett / In Screen will stream November 17-22; suggested donation is $25.
Read Subtitles Aloud invites each audience member to be the protagonist in thirteen short episodes
Who: Onur Karaoglu, Kathryn Hamilton, Meera Kumbhani, Fatih Gençkal, Paul Lazar What: Interactive short plays Where:Media Art XplorationYouTube channel When: Daily through November 23, free with RSVP Why: MAX (Media Art Xploration) and PlayCo have teamed up to present a unique twist on interactive theater during the pandemic lockdown with Read Subtitles Aloud. Written by Onur Karaoglu and Kathryn Hamilton (aka Sister Sylvester), it consists of thirteen episodes in which you hear only half the dialogue, spoken by an onscreen actor; the other half is your responsibility, as you are the protagonist in the story, reading aloud the lines that appear on your monitor, creating a dialogue between you and characters portrayed by Karaoglu, Hamilton, Meera Kumbhani, Fatih Gençkal, and Paul Lazar that also encompasses a certain physicality, acknowledging how we sit in front of the computer and relate to others virtually.
The first three chapters, “Digital Kissing,” “A Warm Up,” and “A Secret Video,” are available now, with each new chapter dropping daily through November 23, exploring such issues as love and sex, loyalty and betrayal, what’s real and what’s not, and connection and isolation, so key as we keep sheltering in place. The play features art direction by Christine Jones, costume and set curation by Zoë Hurwitz, lighting by Bill Berner, and dramaturgy by Emily Reilly. During the conversations, which are based on Altyazıları Yüksek Sesle Oku’s YouTube series, in which Karaoglu appeared, the actors pace their responses, giving you time to say your lines, and they then react as if they heard what you said. In the first episode, you ask, “Should I give you a kiss?” Karaoglu, who is very close to the screen, smiles, puts his hand over his mouth, and coquettishly says, “No, you don’t have to kiss me right now. But if you want, you can. If you feel something, kiss. Don’t kiss if you don’t feel anything. So the rule about kissing is don’t kiss if you don’t feel anything.” You: “I’m not going to kiss you.” Him: “So, um.” You: “It makes no sense.” Him: “True. It is generally something we fake.” You: “Speak for yourself.” Him: “Okay, I’ll go back to the normal position now, a position that does not invite kissing, a distant position.” You: “When you were close there was this feeling.” Hey, at least you’re not talking to yourself, or bored out of your skull having another Zoom meeting with friends, family, or work colleagues while also shoring up your acting chops.
Red Bull Theater teams up with UCLA to present new translation of Spanish Golden Age comedy
Who:Red Bull Theater company What: Livestreamed benefit reading of new translation of Ana Caro Mallén’s The Courage to Right a Woman’s Wrongs Where:Red Bull Theater website and Facebook Live When: Monday, November 16, free with RSVP (donations accepted), 7:30 (available on demand through November 20 at 7:00) Why: For its latest livestreamed reading, Red Bull is teaming up with Diversifying the Classics | UCLA to present a brand-new translation of Spanish Golden Age poet and playwright Ana Caro’s The Courage to Right a Woman’s Wrongs (“Valor, agravio y mujer.”) Part of La Escena 2020, the second edition of Los Angeles’s Festival of Hispanic Classical Theater, the seventeenth-century comedy focuses on a woman’s boundary-crossing encounters with issues of society and gender, justice and honor, specifically related to her former lover, Don Juan. In their introduction to the new translation, Marta Albalá Pelegrín and Rafael Jaime write, “Through this stirring tale of a woman’s courage to right the wrongs she has suffered, the play holds up to scrutiny contemporary notions of masculine honor and offers in their place a vision that opens up space for women and their agency.”
The reading will be performed by Anita Castillo-Halvorssen, Helen Cespedes, Natascia Diaz, Carson Elrod, Anthony Michael Martinez, Sam Morales, Alfredo Narciso, Ryan Quinn, Luis Quintero, and Matthew Saldivar and is directed by Melia Bensussen; there will be a live, interactive Bull Session with some of the artists involved and UCLA professor of Spanish and English Barbara Fuchs and California State Polytechnic English and modern languages associate professor Pelegrín on November 19 at 7:30, also free with RSVP. The reading will be available on demand through November 20 at 7:00.
Keith (K. Todd Freeman) and Ronnie (Jon Michael Hill) reconnect online after fifteen years in What Is Left, Burns (photo by Lowell Thomas)
WHAT IS LEFT, BURNS
Steppenwolf Theatre Company
Through November 30, virtual membership for six shows $75 www.steppenwolf.org
The pandemic lockdown of theaters across the country has come with a side benefit that I hope you’re all taking advantage of: the opportunity to see live and prerecorded work by companies around the world from the comfort of your home. Of course, it’s not the same thing as sitting in a dark venue, being part of an audience, watching a story unfold in the same time, air, and space as the performers, but we have to make do with what we have. I’ve been particularly drawn to theater and dance created during the crisis as creators experiment with Zoom and other platforms to bring entertainment to a public starved for it. Which is why I’m excited that Chicago’s fabled Steppenwolf Theatre has just kicked off its Steppenwolf NOW program, a virtual series that consists of six online works through June 2021.
First up is James Ijames’s What Is Left, Burns, streaming this month. During the health crisis, people have been communicating more than ever via video, logging on with friends and family, sometimes digging deep into the past to reach out to those who might not be part of their lives anymore. In What Is Left, Burns, a literature professor and a former student reconnect after fifteen years, bringing up long-left-unsaid feelings as they take stock of their lives without each other. “It’s been a long time,” says the younger Ronnie (Jon Michael Hill) with a big smile. “Yeah, it has. Actually, honestly, I wasn’t sure you’d respond to my email,” replies the older, tentative Keith (K. Todd Freeman). “I wasn’t sure either,” the more open and emotional Ronnie says. Over the course of twenty-three minutes, the full extent of their relationship is revealed, involving love, lies, personal and professional jealousy, and, above all, loneliness, which we each have been facing in our own ways during Covid-19.
Though not about the pandemic, What Is Left, Burns is tailor-made for our current state of mind. By now we are used to watching others on our computers like never before, and Tony nominees Freeman (The Song of Jacob Zulu,Airline Highway) and Hill (Eastbound & Down,Superior Donuts), who last performed together onstage in 2009 in Tina Landau’s production of The Tempest at Steppenwolf — Freeman as Caliban, Hill as Ariel — do an outstanding job of making us feel just the right amount of uncomfortable as we peer into their private conversation; Freeman is appropriately jittery as Keith, who is hesitant to share too much at the outset, while Hill is bright and engaging as the bubbly Ronnie, who smiles widely even as he harbors discontent at what happened between them. Ijames uses his experience as a director (The Brothers Size), playwright (Kill Move Paradise), and actor (Angels in America) — he portrayed Franco in a Philly production of Superior Donuts, the role that earned Hill a Tony nomination — to craft an intimate tale that works on multiple levels.
Director Whitney White rhythmically cuts from Keith, sitting in his chair with books, CDs, and photos around him, as well as a computer open to the TED Legacy Project talk “The fight for civil rights and freedom” with John Lewis and Bryan Stevenson, while Ronnie is in front of a much more sparse background as he moves throughout his apartment. White (What to Send Up When It Goes Down, Our Dear Dead Drug Lord) adds interstitial abstract scenes that bathe the two boxes in mysterious pastel blues, greens, and reds, with droning sound and music by Justin Ellington that take us further into the characters’ complex psyche. Lowell Thomas serves as director of photography and video editor, using iPads, laptops, and phones from multiple angles to avoid the action becoming too static, which is the case with so many Zoom presentations. What Is Left, Burns is a strong start to Steppenwolf NOW, which continues with Isaac Gómez’s two-act radio play Wally World in December, Rajiv Joseph’s ten-minute Red Folder with Carrie Coon in January, Vivian J. O. Barnes’s Duchess! Duchess! Duchess! in February, Donnetta Lavinia Grays’s Where We Stand in April, and Sam Shepard’s Ages of the Moon with Randall Arney and William Petersen in June.
The Cherry Artists’ Collective will present English-language world premiere of A Day online
Who:The Cherry Artists’ Collective What: English-language world premiere Where:Livestream from the State Theatre of Ithaca When: November 13-14, 19-21, $15-$45, 7:30; live Zoom discussion Monday, November 16, free with RSVP, 4:00 Why: While theaters are still closed to audiences, many companies are using their spaces to perform works onstage and stream them live and/or recorded online. I’ve seen Yasmina Reza’s ‘Art’ from the San Francisco Playhouse, Albert Camus’s The Fall from FIAF, and Sarah Kane’s Crave from the Chichester Festival Theatre in England (with a masked audience before the new lockdown was announced). From November 13 to 21, the Ithaca-based Cherry Artists’ Collective will present the English-language world premiere of Québecoise playwright Gabrielle Chapdelaine’s 2018 award-winning A Day (Une journée) from the friendly confines of the State Theatre of Ithaca.
Translated by Josephine George, the ninety-five-minute play covers twenty-four hours in the ordinary life of four mysteriously interconnected characters, portrayed by Karl Gregory, Jahmar Ortiz, Erica Steinhagen, and Sylvie Yntema. The actors will be performing in multicamera green-screen booths at the theater, directed by Wendy Dann, with video mise en scène by Cherry artistic director Samuel Buggeln, mixing live and prerecorded audio and video that features other members of the collective as well. Performances take place November 13-14 and 19-21 at 7:30; tickets are $15 (minimum), $25 (recommended), or $45 (supporter). For a sneak peek, you can check out a short clip from a Zoom rehearsal above. In addition, Chapdelaine and Buggeln will take part in a live Zoom discussion moderated by Mat Fournier on November 16 at 4:00.
Soil Beneath: An Empirical Decay streams through Primary Stages this week
Who:Chesney Snow, Kevin Hillocks, Rachael Holmes, Winston Dynamite Brown, Latra Wilson, Kimille Howard, Diedre Murray What:Choreopoem Where:Primary Stages online When: November 11-15, $35 Why: Beatboxer, actor, songwriter, poet, and educator Chesney Snow will debut his Primary Stages commission, Soil Beneath: An Empirical Decay, this week, livestreaming November 11-15. The sociopolitical, multidisciplinary exploration of race and class in America was created by and stars Snow (In Transit, Oo Bla Dee), who will be joined in the forty-minute show by Kevin Hillocks as Homerel, Rachael Holmes as Dori, and choreographers Winston Dynamite Brown and Latra Wilson; Soil Beneath, which includes music, dance, poetry, and storytelling, is directed by Kimille Howard and features a score by Pulitzer Prize finalist Diedre Murray (Running Man, Eli’s Comin’). The November 11 opening-night performance will be followed by a Zoom talkback with members of the cast and artistic staff.
Chukwudi Iwuji will discuss the 2016 Public Theater Mobile Unit production of Hamlet in virtual program on November 10 (photo by Joan Marcus)
Who: Karen Ann Daniels, Chukwudi Iwuji, Patricia MacGregor, James Shapiro, Praycious Wilson-Gay What: Discussion about race, Shakespeare, community, and the Public Theater’s Mobile Unit Where:The Public Theater website and YouTube channel When: Tuesday, November 10, free with RSVP, 7:00 Why: In the fall of 2016, the Public Theater’s Mobile Unit, after traveling across New York City, brought Patricia McGregor’s contemporary production of Hamlet to the Shiva Theater; I called the show “a playful adaptation highlighted by a superior performance by Olivier Award winner and Royal Shakespeare Company associate artist Iwuji, who is both inspired and inspiring as Hamlet. Iwuji, who has never played the role before, jumps in feet first, giving his all, often making direct eye contact with the audience to bring them further into the story. He does a lot of shouting, but he balances that with beautifully rendered soliloquies that (almost) feel like they could have been written today.” With the Public Theater and the Mobile Unit shut down because of the pandemic, the downtown institution will be presenting the virtual program “Who’s There: Hamlet and Black Lives,” a free discussion with Iwuji and McGregor on November 10 at 7:00. It is exciting to watch the actor talk about Shakespeare; on June 29, he delivered an impassioned reading of the “Homely Swain” speech from Henry IV and then waxed poetic about the play for a Red Bull Theater RemakaBULL Podversation, which can be viewed here. The Public presentation will explore Hamlet and the Mobile Unit itself within the context of the Black Lives Matter movement and the state of our divided nation, with Iwuji and McGregor joined by Mobile Unit director Karen Ann Daniels, Mobile Unit community programs manager Praycious Wilson-Gay, and Shakespeare scholar in residence James Shapiro.
