Monday, July 21, 2008

Theater Comes to Life: Literally

Eugene O'Neill describes the setting for "A Long Day's Journey into Night" and suddenly dark wood panelling, a bookshelf under a portrait of William Shakespeare, a round table and chairs with three windows from which you can overlook the water surround me, not because I'm imagining the room as I read, or admiring set work while viewing the play, but because I'm sitting in the room itself, where J Ranelli directs a reading from the classic.
The room, exact in detail as described in the stage directions of the play, is in O'Neill's boyhood home and the reading is the first event in which I'm participating as a fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT.
Ranelli, one of the most skilled directors I've ever worked with, brings O'Neill's words to life as he guides the actors through selected scenes. The idea is for us critics, who review plays, to get a better understand of how a performance comes to be. I get even more than that out of the experience.
Ranelli suggests that the two actors playing Edmund and Jamie go out into the kitchen and enter the room laughing, just as described in the play's stage direction. They do, and the effect is chilling. I feel as though I'm living inside the pages of O'Neill's autobiographical work and expect to hear the melancholic foghorn. I can feel his pain, the frustration of a disfunctional family trying to make it through the day while denying, then trying to deal with the mother's drug addiction.
It's gripping and I realize that this is why I do theater: to move the people watching. To try to touch them with the material in a personal way and, in our case at Masterwork Productions, where our projects carry a message of hope, to offer them something to think about and in some cases, a solution.
The experience leaves me with a strong sense of confirmation and a bag full of directing techniques gleaned from Ranelli's years of experience in theater and television that hopefully will make me a better director, both of theatrical endeavors and of this performing arts organization. He stresses a mentoring relationship between director and actors and I realize that this type of relationship is what brought me here in the first place. Friend and Broadway critic Retta Blaney has encouraged me to pursue writing reviews of Broadway shows from a Christian perspective. A few of those reviews earned me a spot as a follow at the institute and now God has opened the door for mentoring from some of the nation's top critics.
It's amazing how many doors God can open and not surprising that he uses mentors like Retta to turn the door knob.

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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York in February 2018.

Yarger trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Three-Day Training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run.

She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She writes reviews of Broadway and off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at

She is editor of The Connecticut Arts Connection (, an award-winning website featuring theater and arts news for the state. She is a contributing editor for She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women.

Yarger is a book reviewer for Publishers Weekly and freelances for other sites. She is a member of the National Book Critics Circle.

She is a freelance writer and playwright and member of The Drama Desk, The Outer Critics Circle, The American Theater Critics Association and The League of Professional Theatre Women. She served as a judge for the SDX Awards presented by the Society of Professional Journalists. She also is a member of the Connecticut Critics Circle. and the Episcopal Actors' Guild.

A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.


All material is copyright 2008- 2018 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact


Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle and The Drama Desk, the two professional critics organizations with journalists covering NY theater. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about (I review all Broadway shows and pertinent Off-Broadway shows), I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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