Tuesday, May 25, 2010

2009-2010 Most Annoying Audience Member Awards

My World's a Stage of Bad Theater Etiquette
By Lauren Yarger
In between the Drama Desks, the Outer Critics and Tony Awards honoring the best in theater performance, we mustn’t forget to award the other top folks in the theater -- the people attending the shows – so here are the 2009-2010 Most Annoying Audience Members, presented annually by yours truly.

Just when I think I can’t observe any more rude or annoying behavior, another audience member, usually seated right next to me, proves me wrong. And this year, we have 15 honorees instead of just 10 like we did last season. It seems like a lot, but take heart. For the number of shows I attend, this doesn’t even mean that I’m annoyed at 10 percent of the performances, so overall, good audience members far outweigh the bad. (For last season’s winners, click here).

Here are this year's winners in ascending order (saving the bext for last). I hope you enjoy reading about them more than I enjoyed encountering them. Each one happened at a different theater. The names have been left out to protect the innocent:

15.) The two very tall teenage girls who sat on booster seats to form a virtual Amazon wall past which no one behind them could see.

14.) The guy who snored through a play. He was across the theater in a different section from where I was seated, so I didn‘t have the pleasure of hitting him with my program, but he could be heard throughout the orchestra section of the theater. It wasn’t a boring play. There was no need for the log sawing -- and what’s wrong with the person or persons who were with him that they didn’t stir him to interrupt the rude, constant noise? I did take a little guilty pleasure, however, when I saw the person behind him kick the back of the seat and jar him awake.

13.) The woman next to me with the Japanese fan. She flipped it open and closed and fanned herself all night long wreaking havoc with my peripheral vision. It wasn’t hot in the theater -- in fact it was a little chilly and the constant wind chill factor from my left made it even more so. I sympathize with women experiencing hot flashes, but seriously, be a little more considerate of your neighbor.

12.) The guy whose I-phone protruded from his pocket into my seat (the seats were VERY cramped with no arm rest in between) and jabbed me all the way through the first act. At intermission, assuming he was unaware of the assault, I politely explained that my hip was bruised and asked if he couldn’t switch it the other pocket (thereby giving his wife, seated on his other side, the pleasure of being prodded). He exploded and told me that his wallet was in his other pocket and gave me a choice of being poked by his wallet or his phone. “Well, I choose neither you clod,” I wanted to respond. I think he had had a few too many before arriving at the theater, so maybe that explains his rude response and his droning on for the rest of intermission to his wife about the rude person seated next to him. To his credit, while he didn’t switch pockets, he did readjust the phone several times to keep it from visiting me during the second act.

11.) The guy in front of me who scratched his head, his back, his neck, his face, his armpits, his chest, his butt and a few other parts during the entire show. He was more active than the dancers performing on stage. And he never clapped-- a legitimate use for hands at the theater.

10.) One of my favorites-- a 6-year-old kid who kept talking loudly and yelling at Charles Ross during his performance of One Man Star Wars. The performer finally stopped the performance and said, “Kid, you don’t know how badly I need you to shut up right now” and went on to question why his parents hadn’t told him to be quiet. He was greeted with cheering applause from the audience. Parents, ushers, where were you?

9.) Another kid-- whose cute loud giggle at a joke early in the show brought laughter from the audience. Suddenly consumed with a need to perform, the child laughed out loud obnoxiously at everything, funny or not, for the rest of the evening. The first natural response was amusing. The subsequent 100 forced responses were annoying. Again, where are the parents?

8.) The guy with the camera who took about 300 photos of the set before the start of the show, then continued snapping after the curtain rose. I walked down the aisle and told him to power off, which to his credit, he did, though I think he was startled at intermission to discover that I was an audience member and not the theater manager (those old House manager authoritative tones still come in handy). Where the heck were the ushers? Oh, that's right -- standing there watching him snap away.

7.) The woman who texted five times during the first act after an announcement specifically asking audience members not to test during the show.

6.) The woman who unzipped and zipped her purse about 12,000 times rummaging incessantly for something during the first act. When intermission was almost over, she announced, “I found it!” (I am not making this up). My favorite part was that she did it again during the second act -- then shushed a woman in front of her for talking to her companion (This, by the way, was the only time the other woman had spoken during the show. She probably was saying, “Is that woman behind us ever going to stop rummaging around in her purse?”) Then Purse-zilla noisily unwrapped some candy for a while.

5.) The couple in front of me who were more interesting than the play we were watching. He was bald and she had a unbelievably big curly mop, which in itself was kind of funny, but they fought about everything all night long, which would have been amusing if it hadn’t been so sad and annoying (There probably was some good dialogue there for a scene showing the disintegration of a marriage. I should have taken notes.) They threw barbs all night and were genuinely unpleasant with each other. He had a broken leg. I could only speculate as to how that had happened…..

4.) The woman who commandeered a seat because she decided she didn’t want to walk down a few steps to get to hers, The usher tried to explain that someone else would be arriving with a ticket for the seat she had selected, but the woman simply replied that he or she could have her other seat instead. She had attached herself to an aisle seat. Her real seat, of course was not. The usher was super nice and went to get the manager, who told the woman the same thing. She refused to move from her new seat. Eventually, of course, the ticket holder arrived and she had to move and was VERY upset…..

3.) The woman who left during the second act, then returned toward the end of the show. Her companion welcomed her back loudly, then proceeded to tell her what she had missed during the last 40 minutes.

2.) The guy with the smelly feet. At a musical, I suddenly was nauseated by a horrible odor. Everyone started looking at me, as though I were the cause, and in fact, I did seem to be, though I knew it wasn’t me and wanted desperately for everyone to know that. At intermission I discovered the cause: the guy behind me had removed his shoes, then stretched his legs out placing his feet directly under my chair.

1.) And my personal favorite from this season, the one that can make a trip to the theater seem very surreal: The Pizza Lady. A woman plopped down next to me with a full-sized pizza box, opened it and started to chomp. I glanced around the theater thinking that perhaps I had missed advertising about this being “bring your own dinner” or “pizza and beer” night at the theater. No one else was eating anything. No one was even chewing gum.

She turned to me and asked in pizza breath with bits of mozzarella and sausage flying in my direction, whether I got to the theater much. “Yes,” I wanted to reply, “and this is the first time anyone has brought their own pizza.” Instead, I engaged in polite conversation (by polite I mean I didn’t gag at the flying food) and refused (again I was polite) to switch my seat with her companion who had a ticket in the cheap seats (and who probably was hoping to have a chance to chomp his half of the pizza).

This woman produced the loudest laugh I ever have heard and proceeded to force it and her pizza breath on all of us throughout the performance. She also repeated every punch line out loud. Then she threw her jacket on me (I had to ask her to remove it four times) and told everyone around us to be quiet if they even breathed loudly.

For being offensive on so many levels and for making me pinch myself 100 times to convince myself that this was a real person and not some dream, The Pizza Lady wins the 2009-2010 Most Annoying Audience Member Award!

Monday, May 24, 2010

Memphis, Red Take Top Drama Desk Awards

Memphis. Photo: Joan Marcus

Two Ties Announced: Catherine Zeta-Jones and Montego Glover tie for Outstanding Actress in Musical; A View from the Bridge and Fences share Outstanding Revival of a Play
Memphis captured Drama Desk trophies for Outstanding New Musical, Outstanding Music (David Bryan) and Outstanding Orchestrations (Daryl Waters and David Bryan) while Oustanding Play Red also won for Outstanding Director (Michael Grandage) and Outstanding Lighting Design (Neil Austin).
In addition to sharing the Outstanding Revival of a Play award, Fences also garnered the Outstanding Actress in a Play award for Viola Davis and Outstanding Music in a Play award for Branford Marsalis. La Cage Aux Folles won for Outstanding Revival of a Musical, for Outstanding Actor in a Musical (Douglas Hodge) and for Outstanding Costume Design (Matthew Wright).
Jan Maxwell (The Royal Family) was voted Outstanding Actress in a Play. The Outstanding Featured Actress in a Musical award went to Katie Finneran (revival of Promises, Promises) and the Outstanding Featured Actor in a Musical trophy was presented to Christopher Fitzgerald (the revival of Finian’s Rainbow). Santino Fontana (Brighton Beach Memoirs) won the Outstanding Featured Actor in a Play Award

Michael Mayer (American Idiot) was named Outstanding Director of a Musical and Twyla Tharp (Come Fly Away) was voted Outstanding Choreographer. Sondheim on Sondheim won the Drama Desk Award as Outstanding Musical Revue and John Kander and Fred Ebb (The Scottsboro Boys) were voted Drama Desk Awards for Outstanding Lyrics. The Outstanding Book of a Musical went to Alex Timbers (Off Broadway’s Bloody Bloody Andrew Jackson).
The Outstanding Set Design Drama Desk was won by Phelim McDermott, Julian Crouch & Basil Twist for The Addams Family. The Outstanding Sound Design in a Musical went to Acme Sound Partners (Ragtime), and Fitz Patton (When The Rain Stops Falling) captured the Drama Desk Award for Outstanding Sound Design in a Play.
Jim Brochu won the Outstanding Solo Performance Drama Desk Award for his portrayal of Zero Mostel in Zero Hour. The Unique Theatrical Experience Drama Desk award was voted to Love, Loss and What I Wore. Matthew Wright (La Cage Aux Folles) won the Drama Desk Award for Outstanding Costumes. Acme Sound Partners (Ragtime) was voted the award for Outstanding Sound Design in a Musical and Fitz Patton (When The Rain Stops Falling) won for Outstanding Sound Design in a Play.
The following awards were voted by the nominating committee and were presented at the 55th awards ceremony, hosted by Patti LuPone Sunday, May 23:
Outstanding Ensemble Awards for acting were presented to the cast members of two shows -- The Temperamentals and The Orphan’s Home Cycle. Therefore, individual cast members for these shows were not eligible for acting awards in the competitive categories.
Each year the Drama Desk votes special awards to recognize excellence and significant contributions to the theater. These awards were presented this evening to:
• To the cast, creative team and producers of Horton Foote’s epic The Orphan’s Home Cycle: saluting the breadth of vision, which inspired the exceptional direction, performances, sets, lighting, costumes, music and sound that maItalicde it the theatrical event for this season.
• To Jerry Herman for enchanting and dazzling audiences with his exuberant music for more than half a century.
• To Godlight Theatre Company for consistent originality and excellence in dramatizing modern literature, and especially for the vibrant theatricality of its innovative productions.
• To Ma-Yi Theater Company for more than two decades of excellence and for nurturing Asian-American voices in stylistically varied and engaging theater.

Wednesday, May 19, 2010

Theater Review: The Screwtape Letters

A Devilishly Clever Performance
By Lauren Yarger
Max McLean is a deliciously loathsome demon giving advice on how to keep humans from following God (and in consequence, dispensing some sage insights into how we allow the enemy to trip us up) in a slick Off-Broadway presentation of C.S. Lewis’ The Screwtape Letters.

McLean (right, photos courtesy of Fellowship of the Performing Arts) has been touring the show, co-adapted and directed by Jeffrey Fiske, for a number of years, and practice has paid off. This version is tighter and more polished than the show that ran here in New York a few years ago.

Screwtape, a sort of dean of devils, writes a series of letters to his nephew, Wormwood, a recent graduate of the Tempters' Training College for young demons, who has been assigned to lead his first human subject to claim him for “our father below” and away from the “enemy” above. Sitting in large leather chair in his hellish quarters, glowing red and lined with the bones of human skeletons (Cameron Anderson, set design; Jesse Klug, lighting design), he dictates his advice, then closes each one with, "Your affectionate uncle, Screwtape," accenting the "P" heavily and triggering a crackling sound, as though the letter is sealed with a flame.

His servant demon, Toadpipe (Karen Eleanor Wight, right), climbs a curved staircase to deliver the missives to a postal box not unlike a bank suction tube that sends them up to the waiting Wormwood.

McLean is both comical and scary as he suggests ways for Wormwood to keep his “patient” away from things that will lead him to God. When that fails, and the man becomes a Christian, the senior demon helps his protégé plan a strategy to keep the human from becoming too serious about his new-found faith and to stealthily direct him back towards hell.

“Bring us back food,” Screwtape cautions his nephew, “or be food yourself.”

You can almost hear him licking his lips in anticipation of devouring the man’s soul.

The adaptation captures much of Lewis’ dry wit and sage insight in the dialogue (a memorization tour de force for McLean) and more than once the audience gives a collective, cognitive "hmmm" as the truth of the enemy’s strategy and purpose is revealed.

“A moderated religion is just as good as no religion at all,” he says knowingly.

Wight, who has no lines but only grunts in a devilish way while crawling around gnawing on a bone or transcribing Screwtape’s words onto paper with a claw, is quite entertaining and wears a vivid costume designed by Michael Bevins. She also acts out the parts of humans Screwtape uses as examples in his letters to Wormwood. John Gromada’s original music and sound design, including select prerecorded pieces that help lend an other-worldly effect to Screwtape’s voice, complete the effect.

It’s a powerful production and enjoyable whether you are a C.S. Lewis fan or are asking, "C.S who?" Don’t miss it at the Westside Theatre, 407 West 43rd St., NYC. For tickets, visit http://www.fpatheatre.com/current/nyc.

Christians might also like to know:
• No content-related notes. Learn something!

Special Note: Hell freezes over at the Westside Theater where it is really cold during the 90-minute presentation without intermission. Bring a sweater or jacket and hit the restroom before.

Marc Robinson Receives George Jean Nathan Award for Criticism

Lauren Yarger photo

Marc Robinson, left, professor of English and theater studies at Yale University School of Drama is the 2010 winner of the George Jean Nathan Award for Dramatic Criticism. He won for his book "The American Play 1787-2000."

The presentation was made Monday by Ellis Hanson, right, chair of the Cornell University English Department, at the 50th anniversary celebration of the award at the Yale Club in New York. Robinson read an excerpt from his book.

The award, which includes a $10,000 prize, is given annually to the "best piece of drama criticism during the theatrical year (July 1 to June 30), whether it is an article, an essay, treatise or book."

New Victory Theater's Season of Family, Kid Shows Announced

The New Victory Theater, New York’s theater for kids and families, opens its 2010-11 season on a high note – literally. From New York’s Gotham Chamber Opera and celebrated Broadway director and founder of Tectonic Theater Project, Moisés Kaufman, in association with London-based puppet company, Blind Summit Theatre, comes the opera Puss in Boots (El gato con botas), a stunning and entirely new adaptation of the beloved children’s story. Puss in Boots (runs from Oct. 2-10at The New Victory Theater.

Below are a few highlights of the upcoming season:

· For its annual holiday show, The New Victory will present Momentum by Tel Aviv’s Mayumana. A thrilling, high-energy multimedia show with music, dance, drumming, acrobatics and audience interaction, Momentum boasts a cast of 10 outstanding young talents from as many countries.

· Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe by Catalyst Theatre is a Tim Burtonesque dreamscape about literary sensation and master of the macabre, Edgar Allan Poe. Nevermore uses haunting song, poetic storytelling and surreal, Victorian-inspired imagery to explore the events that shaped Poe’s career and ignited his lifelong battle with “visions dark and sinister.”

· Once again, The New Victory will present several shows for pre-school aged children and younger, as well as their adult companions: Egg and Spoon (Lyngo Theatre, London/Venice), a cozy and gentle interactive adventure; Potato Needs a Bath (Shone Reppe Puppets, Scotland), a charming puppet tale, and Mischief (Theatre-Rites and Arthur Pita, London), an award-winning production that marks the first commission for family audiences by London’s Sadler’s Wells.

· Peter and Wendy, by Mabou Mines, brings J.M. Barrie’s celebrated story of exuberant joy and bittersweet longing to life. Karen Kandel recreates her OBIE Award-winning role of The Narrator, telling the story and embodying every character. Peter Pan, the Lost Boys and a “very classy” Hook are brought to life using bunraku-style puppets and scraps of cloth and paper. Original Celtic music supports Barrie’s lyrical language.

The other shows in The New Victory Theater’s 14-production 2010-2011 season include:

· ZooZoo, Imago Theatre, Portland Oregon, Oct. 15-24

· Squirm Burpee Circus: A Vaudevillian Melodrama, The Handsome Little Devils, Denver Colorado, Nov. 12-28

· Nearly Lear, Susanna Hamnett, Toronto, Canada, Jan. 7-16

· Circus INcognitus, Jamie Adkins, Montreal, Canada, Feb. 11-27

· Skellig by David Almond, The Birmingham Stage Company, Birmingham, UK, March 4-13

· Boom Town, Cirque Mechanics, April 8-24

· The Tragical Life of Cheeseboy, Slingsby Theatre Company, Adelaide, Australia, April 29-May 8

Theater-goers who buy tickets for three or more New Vic shows qualify for free membership benefits, including up to 35-percent savings with tickets as low as $9. Tickets for new members are available online starting July 7, 2010, or by telephone starting Aug. 4. To purchase tickets online, visit www.NewVictory.org, or call 646-223-3010.

Beginning September 7, The New Victory Theater box office (209 West 42nd Street) will be open Sunday and Monday from 11 am to 5 pm and Tuesday through Saturday from noon to 7 pm.

The New Victory Theater is New York City’s first and only full-time performing arts theater for kids, their families and classmates. In addition, The New Victory also offers daytime school performances ($2 per student), family workshops and jobs to high school and college students. Interactive Lower Lobby Activities, FYIs (performance-related exhibits) and Talk-backs with the artists are offered in conjunction with select performances throughout the season.

Tuesday, May 18, 2010

Theater Review: White’s Lies

Tuc Watkins, Peter Scolari and Christy Carlson Romano
PHOTO CREDIT KEN HOWARD

A Breakneck Speed and Some Good Old Fun
By Lauren Yarger
If you can keep up with the speedy dialogue and quick-change sets in the Off-Broadway production of Ben Andron’s White’s Lies, you’ll probably find yourself enjoying the play, even if you can’t quite put your finger on why.

Tuc Watkins (of TV’s “Desperate Housewives”) stars as Joe White, a womanizing divorce lawyer who depends on partner, Alan (a fine, but underused Peter Scolari), to come by early every morning and interrupt the trysts held at the office so that the cad doesn’t have to breakfast with (or feign any kind of commitment to) his conquests. He’s content with his life until a sobering visit from his estranged mother (Betty Buckley), who wants to put their differences aside after being told that she doesn’t have long to live. Her one regret, she tells her son, is that he didn’t give her a grandchild.

When an old college flame, Barbara (Andrea Grano), wants the expensive firm to represent her in her divorce, White offers a trade instead: his services free in exchange for Barbara's going along with a scheme to convince Mrs. White that Barbara’s daughter, Michelle (Christy Carlson Romano), is the product of her past relationship with White yielding an instant granddaughter. Romano, known to fans of TV’s “Kim Possible,” wears the coolest wardrobe and shoes ever thanks to costume designer Michael Bevins.

A highlight of the play is Robert Andrew Kovach’s set design which transforms the office into a restaurant/bar where the owner (Jimmy Ray Bennett, who plays multiple roles) changes the establishments from American to Mexican to French, to sleazy bar, etc., almost instantaneously with the use of some rotating walls and a cracker-jack stage crew. Changing almost as quickly is Rena Strober, who plays to humorous satisfaction various women White has taken advantage of in his past.

The script is totally predictable, and you’d think some of the bits re-used multiple times throughout the play would grow old, but Director Bob Cline infuses a high-speed farce tempo on the ever-complicating piece that doesn’t let you think about it too much. In fact, some of the punch lines are delivered in such a drive-by style, that they don’t hit you until a few seconds later (there’s a great line about Buckley’s character not being able to sing).

The show also works because the cast appears to be having a lot of fun themselves. When Romano’s unbelievably high, spiked heel caused her to trip while exiting, Buckley gamely adlibbed, “she’s a little clumsy, but lovely” to the delight of the cast and audience. When Romano returned, she comically gave the chaise lounge, over which she’d tripped, a wide berth.

The characters are likable as well. You want everything to work out for them, and because the script really isn’t that complicated, of course it does. It’s an enjoyable night at the theater – if you can just keep up.

White’s Lies plays at New World Stages, 340 West 50th St., NYC. For tickets call (212) 239-6200. Group discounts are available for friends of Masterwork Productions at http://www.givenik.com/show_info.php/Masterworks/251/groups.

Christians might also like to know:
• Language
• Lord’s name taken in vain
• Sex outside of marriage

Monday, May 17, 2010

Theater Review: The Housewives of Mannheim

Compelling Performance Highlights This One
By Lauren Yarger
Pheonix Vaughn gives a compelling performance as May Black, a Brooklyn housewife trying to keep things running on the home front while her husband is away at war in Alan Brody’s The Housewives of Mannheim Off-Broadway at 59/59 Theaters.

May has a battle of her own, as well, as she fights to come to terms with her sexuality after longtime friend, Billie Friedhoff (an engaging Corey Tazmania), who sells linens to help make ends meet, makes romantic advances. May might never have considered such a relationship before the arrival of the sophisticated and beautiful Sophie Birnbaum (Natalie Mosco), who escapedsthe Nazi terror in her native Austria to relocate in the women’s apartment building.

May idolizes the independent Sophie, who was a concert pianist before the war and who also happens to be a lesbian. May craves knowledge. She wants to visit museums with Sophie, listen to her recordings, and maybe even take some college classes – something she’s never thought much about because she always assumed good looks were all a woman needed to get ahead in life. And though she’s supposed to yearn for the return of her husband, she starts to wonder whether any of those opportunities will be available to her once he’s home again.

Making a fourth at May’s table for coffee and conversation is contest-entering and label-collecting, but emphatically not lesbian Alice Cohen (Wendy Peace), who tries to keep May from coming under the influence of the other two women.

All of the performances, directed by Suzanne Barabas, are solid, but Vaughn’s emotional portrayal really stands out as a woman who wants so much more than keeping house, but who feels trapped in her kitchen by society’s rules and her own fears about what she wants. A very nice metaphor is given in the display of a fictional Vermeer painting titled "The Housewives of Mannheim" that May goes to see (all by herself – a big deal for a woman in 1944 – to the Metropolitan Museum of art) featuring four women around a table, which, in May’s mind, freezes them in their period of history. The scene is recreated with the four Brooklyn women.

This cast reprises their roles from the original New Jersey Rep company production.

The Housewives of Mannheim runs through June 6 at 59/59 theaters, 59 East 59th St., NYC. Tickets are available by calling Ticket Central at 212-279-4200 or online at http://www.ticketcentral.com/. For more information visit www.59E59.org.

Christians might also like to know:
• Language
• Lord’s name taken in vain
• Homosexual activity

Gracewell Prodiuctions

Gracewell Prodiuctions
Producing Inspiring Works in the Arts
Custom Search
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 concept, "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. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other 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 wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at http://reflectionsinthelight.blogspot.com/.

She is editor of The Connecticut Arts Connection (http://ctarts.blogspot.com), an award-winning website featuring theater and arts news for the state. She was a contributing editor for BroadwayWorld.com. She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for CurtainUp.com 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. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly 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.

Copyright

All material is copyright 2008- 2024 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

Search

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 or people of a certain race 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. 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 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.

All Posts on this Blog