Crow's Theatre
iPhoto caption: Byron Abalos in 'The Veil.' Photo by Raph Nogal.
REVIEW: The Veil brings stripped-down psychological thrills to the Crow’s Theatre Studio
While the world premiere solo show’s attempts at societal critique sometimes lack precision, director Helen Juvonen’s subtle, atmospheric production makes for an unnerving horror theatre experience.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Dave Malloy’s Octet vibrates with sublime vocal beauty at Crow’s Theatre
Malloy’s intricate a cappella compositions, rich with complex harmonies, are the hymns and confessionals in a show about a support group for internet addiction. Regardless of what form their ego-feeding or doomscrolling compulsions take, the characters know it’s actually about appeasing what they call “the monster” inside — that gaping maw of emptiness that begs for shiny treats in the absence of real connection.
iPhoto caption: The company of 'The Welkin.' Photo by Dahlia Katz.
REVIEW: The Welkin careens from raucous comedy to crushing tragedy
The problem with human rights is that, if you believe in them, you have to apply them to everyone. Political opponents. Murderers. Your ex. People whose phones go off at the theatre. Women. The character of Sally puts this theory to a stress test; in bahia watson’s assured hands, she’s gleefully unlikeable, glorying in a storm of suspiciously modern swearing, lacking any flicker of conscience, and biting the hands that are trying to help her.
iPhoto caption: Heeyun Park 박희윤 in 'The Great Comet.' Photo by Dahlia Katz.
REVIEW: Natasha, Pierre & The Great Comet of 1812 dazzles in Mirvish transfer
The upscaled edition is slightly different, but it’s still a rave in multiple ways, with lived-in performances making it seem at times even more immediate than at Crow’s. The show feels more like a vibe than anything cohesive, but what a vibe it is.