In the second act of Matthew Lopez’s startling play “The Whipping Man,” three Jewish Southerners conduct a seder. Two are newly emancipated slaves; the third is their former master’s son.
It is Passover on April 14, 1865 — the day Abraham Lincoln was assassinated. Lopez digs deep to explore the ways this night is different from all other nights, and the ways the ramifications of their unusual circumstance affect the three men. Read More
Laughter fills the Marin Theatre Company as Vladimir and Estragon, the down-on-their-luck tramps of Samuel Beckett’s “Waiting for Godot,” take their places once again to await the theater world’s best-known no-show.
If “Godot” is the last play you would expect to be funny, revisiting it is definitely in order. Sixty years after its Paris premiere, audiences still approach this existential masterpiece with trepidation. Read More
“Bad things don’t happen here. We live in a nice neighborhood,” intones a chorus of residents of an affluent suburb, at the beginning of Los Angeles playwright Steve Yockey’s provocative little satire-cum-super-scary-fairytale, “Bellwether.”This world premiere at Marin Theatre Company shocks and mocks in equal parts even as it preys upon every parent’s deepest fears. Read More
Playwright Edward Albee has called his mystifying 1964 “Tiny Alice” a “metaphysical melodrama.”
At the very least, it’s a metaphorical exploration of the nature of religious faith, specifically of Catholicism, and more specifically of the dichotomy between the God we’ve invented to suit ourselves and a possibly true and unknowable God.
Beyond that, to many, “Tiny Alice” (a name, by the way, that’s never mentioned as such in the play) is simply indecipherable. Read More
Anton Chekhov belongs to the world, but it is difficult to imagine him without Russian language, characters, history and sensibility. London theater companies historically have successfully staged his plays in English while retaining their “real Chekhov” character. Marin Theatre Co. now is taking up the daunting challenge. Read More
“People don’t come to the theater to feel good,” Libby Appel says. “They come to feel.”As with all of Anton Chekhov’s plays, “The Seagull” has a lot of feelings: hope, ambition, failure, pain, persistence. Not a melodrama, it’s a masterpiece of subtle, indirect communication, much of it in subtext.Appel’s new English version of the play gets its professional world premiere, called “Seagull,” at Marin Theatre Co. this week in a production directed by Jasson Minadakis. Read More