163 stories by "Tony Marinelli"
The opening gesture of Dante Alighieri's "Inferno""that immortal confession of midlife disorientation in which a wanderer finds himself astray from the "straight road" and deposited in a "da…
The afterlife has always enjoyed a sturdy tenancy on the musical stage, but "High Spirits""Hugh Martin and Timothy Gray's tuneful graft onto Noël Coward's "Blithe Spirit""has, until now, …
For Heartbeat Opera's presentation of Massenet's exquisite "Manon," the co-adaptors Rory Pelsue, who also directs, and Jacob Ashworth, the company's artistic director, take a scalpel to Mass…
By loosening the moorings that usually tether one actor to one role, director and adaptor Karin Coonrod peers, with unusual intimacy, into Lear's psychic weather. The choice to distribute hi…
Anne Gridley begins "Watch Me Walk" by taking its title at punishingly literal face value. She introduces herself, grips her walking stick"never a cane, a semantic correction that quickly re…
The choreography by Toran X. Moore is exquisitely attuned to both context and cast. Moore's steps and motifs create a full canvas of movement that breathes with the beat and bends to the dem…
Sarah Kirkland Snider's first opera arrives with a confidence that feels almost paradoxical: it is at once tightly focused and lavishly expansive, a work that fixes its gaze on a single hing…
What "If We Kiss" captures, with rare delicacy, is the way young people experience such convergences as both comic and catastrophic. The play treats adolescent feeling with respect, refusing…
Greenberg's greatest achievement is his refusal to inflate or apologize for the material. He treats "The Baker's Wife" as what it is: a musical of sensibility rather than momentum, concerned…
In "BUM BUM (or, this farce has Autism)," EPIC Players"New York's indefatigable standard-bearer for neuroinclusive performance"unfurls a world premiere that feels less like a conventional ne…
In the cavernous expanse of the Park Avenue Armory, where spectacle often arrives inflated to mythic proportions, "The Faggots and Their Friends Between Revolutions" materializes as a freque…
Iraisa Ann Reilly in her one-woman show "A Bodega Princess Remembers La Fiesta de los Reyes Magos, 1998" at Ensemble Studio Theatre (Photo credit: Valerie Terranova) If you venture into the …
In its final form, the piece stands as both elegy and proclamation: a testament to a heritage reclaimed, and to the fierce, necessary act of making contact"full, unguarded, and profoundly hu…
By the time the play reaches its understated yet piercing climax, the question is no longer whether ChiChi and Theodore are "right" for one another"though that question lingers"but rather wh…
If the Muppets are deployed as window dressing, the illusions themselves are a museum of inherited gestures. Lake presents the familiar canon of contemporary stage magic: the bifurcated assi…
Beneath the camp and chaos, 'Bat Boy" remains what it always was: a parable with a pulse. O'Keefe's rock-opera score jabs with wit but bleeds sincerity; his lyrics cut deep with irony and co…
'The Wasp" is not for the faint of heart. It confronts the audience with themes of mental illness, domestic violence, and sexual trauma, yet resists the easy descent into nihilism. For all i…
At the center of it all stands Apple, whose performance is nothing short of revelatory. As Catherine, she is brittle yet unbowed; as Hannah, she radiates vitality and purpose. Her voice"both…
To have emerged from a childhood like Zoë Kim's"with enough self-awareness, critical distance, and sheer emotional stamina to craft a piece of theater with even a hint of uplift"is in its…
In "Heaux Church," writer-performer Brandon Kyle Goodman does not so much deliver a sermon as they detonate one"turning the pious pulpit upside down and shaking loose its centuries of shame,…
Under Carsen Joenk's clean, clever direction, Scotti's writing finds a delicate equilibrium " biting, funny, and deeply humane. The quartet of women are precisely dressed by designer Iliana …
Ari'el Stachel in his one-man show "Other" at Greenwich House Theatre (Photo credit: Ogata Photography) In his solo show Other, now unfolding with searing intensity at the intimate Greenwich…
To describe "Oratorio" is to flirt with the inadequacy of language. It is a musical work"a sung-through piece in the formal lineage of the oratorio, that 17th-century form that eschews stagi…
Jen Tullock in the one-woman play "Nothing Can Take You from the Hand of God" at Playwrights Horizons (Photo credit: Maria Baranova) In Nothing Can Take You from the Hand of God, the mesmeri…
"Italian American Reconciliation" may not be peak Shanley, but in the capable hands of this cast and creative team, it becomes something rare: a flawed but full-hearted theatrical reverie, e…
