Early on in the night it became clear that Black Theatre Ensemble’s production of “King Hedley II” would not be a conventional performance. What transpired instead in Lerner’s Black Box Theatre was a performance that established an unanticipated degree of intimacy with spectators.
Barnard’s Glicker-Milstein Theater has never looked so bare. The black-box stage is unadorned, save for four wooden frames covered in transparent film, a table filled with props, and one solitary microphone.
Just as producer Maddy Cohen, BC ’19, begins asking the audience to turn off their phones, a loud, high-pitched ringtone interrupts the end of her sentence.
A family ate Thanksgiving dinner at a TGI Friday’s while standing on their chairs. An awkward woman was eaten alive by a blue manta ray. A ghost danced around a Russian bathhouse.
A multitude of voices battle to be heard over a loudspeaker. The stage lights come up on Julius Caesar standing center stage, motionless.
The dim lighting, bare stone walls, and vaguely sinister organ music floating down to the basement of St. Paul’s Chapel all make for a great haunted atmosphere. On Friday, Oct. 28, however, the crypt was filled with many more laughs than ghostly music.
Two microphones stood upright on a softly lit stage as a steady stream of people shuffled into the basement.
Upon entering a show which had comedically marketed itself with a poster of an adorable gasping baby, it was jarring to be immediately met with a sign that read “Content Warning: This show contains sensitive material, including, but not limited to: child abuse, spousal abuse, sexual assault, gen
The stage of the Glicker-Milstein Theater is overlaid with a glowing green microchip design. As chiptune music plays overhead, the lights lower on a teenage boy alone in his bedroom, his face illuminated only by the light of a laptop screen.