“Rehab has really changed me, you know.” It’s an opening line I would expect from an episode of “The Sopranos,” not from a musical about Rudolph the Red-Nosed Reindeer.
Have you ever wondered what it would be like if every awkward or paranoid thought you had during a first date was accompanied by a catchy song and a choreographed dance number?
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