Michael Sommers

1 week ago | nystagereview.com | Michael Sommers

Opening on Wednesday at the Public Theater, four brief, contrasting plays of circa 2020 vintage composed by the great British dramatist Caryl Churchill appear in their New York premieres. They are handsomely arranged in a program cleverly directed by James Macdonald, a longtime collaborator, under a banner naming their titles in order of performance: Glass. Kill. What If If Only. Imp.

1 week ago | nystagereview.com | Michael Sommers

That dot in the title of minor.ity signals how francisca da silveira’s thoughtful comedy regards Black artists doing financially well for themselves by being, um, Black artists. Later they are revealed to be doing not so much in the way of art. Exploring the patronage side of an artist’s life and beyond, the play considers themes relating to Black identity and community. All that, plus it offers a satirical figure from Generation Z.

1 week ago | nystagereview.com | Michael Sommers

Twelve Broadway attractions open during this cruel theatrical month of April, so here’s the short report on Smash, which premiered Thursday at the Imperial: Energetically performed by an excellent company, the capably designed and directed show proves to be a busy, cold, facetious and ultimately rueful backstage musical comedy involving some people making a Broadway musical about Marilyn Monroe.

2 weeks ago | nystagereview.com | Michael Sommers

Theater lovers who collect performances by David Greenspan as ephemeral works of art – for that’s what they are, truly – will savor his delightful appearance in a smart new solo comedy written especially for his remarkable proficiency at being several people simultaneously in conversation.

2 weeks ago | nystagereview.com | Michael Sommers

Two men and a woman share a polyamorous affair that grows into a committed relationship – for a while, anyway – in Ken Urban’s new contemporary drama, Danger and Opportunity. Sincerity is the sustaining hallmark of Urban’s play, which gets graphic whenever its characters discuss sex, but otherwise proves to be neither salacious nor sensational – nor especially revelatory – in studying their ever-mutable dynamics as a throuple. The actors keep their clothes on.