Ten years after it was awarded the Pulitzer Prize for drama, “Topdog/Underdog” has lost none of its power.Suzan-Lori Parks’ play about two African-American brothers is still explosive, thoroughly contemporary and as old as the Biblical story of Cain and Abel.
It’s not an easy play — Parks digs deeply into the corrosive effects of racism in America — but the new Marin Theatre Company production, directed by Timothy Douglas, brings it to life with searing intensity.
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From the minute Marin Theatre Company’s production of New York playwright Annie Baker’s “Circle Mirror Transformation” opens — with the five performers lying silently on the floor in what is clearly, right down to the last perfect detail, a community center multipurpose room (set by Andrew Boyce), you know this play is going to take its own sweet time to get where it’s going.
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Aldo Billingslea commands the stage as Othello. In Marin Theatre Company’s new production of Shakespeare’s tragedy, Billingslea fully embodies the power, pathos and poetic sensitivity of the title role.His towering performance is the reason to see the production – MTC’s first Shakespeare since 1978 – even though other aspects of Jasson Minadakis’ uneven staging seldom achieve the same level of resonance.
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Marin Theatre Company’s brilliant presentation of Tennessee Williams’ “The Glass Menagerie” is a win-win for all.
Audiences, whether new to the play or veteran fans of the 1944 work, should rejoice in director Jasson Minadakis’ “re-imagined” production.
It’s often a tricky business putting on an acclaimed classic for today’s viewers. Productions typically fail when the director’s self-regard gets ahead of the work’s inherent value.
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For the seven characters of August Wilson’s “Seven Guitars,” emotions flare up and burn through the night like hot riffs from a blues guitar.
Written as part of Wilson’s Century Cycle — 10 plays exploring African-American experience, one for each decade of the 20th century — “Guitars” dramatizes a few fateful days in the life of a bluesman in the Hill District of the playwright’s native Pittsburgh.
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At the beginning of Marin Theatre Company’s production of “Happy Now?” — British playwright Lucinda Coxon’s sympathetic exploration of a dispiriting quest for happiness among a group of English urban professionals — the main character, Kitty (Rosemary Garrison), meets disingenuously seductive Michael (Andrew Hurteau) at a conference.
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There’s no equivocating: The Bay Area premiere of Bill Cain’s “Equivocation” is a hit.
The exhilarating show, which had its world premiere at Oregon Shakespeare Festival last year and won a 2010 American Theatre Critics Association award for best new play, has been extended twice at Marin Theatre Company in a rousing production directed by Jasson Minadakis.
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