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Our theatrical spring continues to be a busy one, with a wealth of bold, innovative work coming off-Broadway in the coming weeks. At the Atlantic Theatre Company, Mona Pirno’s homage to the downtown theater scene , I Assume You Know David Greenspan, runs at Atlantic Stage 2 through April 30, and Elia Smith’s children’s drama about profound loss , Grief Camp, runs on the Main Stage through May 11. These two productions were among the season’s most anticipated, having their early runs interrupted by strike action, so their return is a double relief—hooray for the unions! hooray for the show!
Whitney White in Macbeth on the March. Photo by Lauren Miller
New York also faces an unscheduled microseason of experimental genius Caryl Churchill. Her quartet of short works , Glass. Kill. What If If Only. Imp., will be screened (through May 11) with the extraordinary Deirdre O’Connell in the cast, and the living-room-sized Torn Page Salon will host an intimate evening of two other Churchill miniatures: a film inspired by Escaped Alone and a live performance of her radio play Not Not Not Not Not Not Enough Oxygen (through April 20). The truly adventurous can catch the next Churchill at the weeklong ?!: New Works festival (“?!” pronounced “interrobang”) at the Brick, in Williamsburg, which presents a new cast of mind-bending mischief-makers each night.
And while Whitney White is best known for her work as a director — she was nominated for a Tony last year for Jaja’s African Hair Braiding and just opened The Last Five Years on Broadway — she’s also an indie soul musician, starring in her own song cycle , Macbeth in Stride, directed by Tyler Dobrowski and Taibi Magar at BAM’s Harvey Theatre (April 15–27). White serves as the band’s lead singer, communicating with the audience about the dreams of black women, and she’s also Shakespeare’s Lady Macbeth, hungry for power and willing to forgo the milk of human kindness. Normally, I’d say she’s aiming for tragedy, but it seems promising that this Lady M has all three witches singing backup. — Helen Shaw
Sourse: newyorker.com
