Flavorpill: Blank! The Musical!

Originally published on Flavorpill.

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There’s a foreboding program insert at Blank! The Musical with lots of instructions about how to use the show’s web app, peppered with reassurances that if you don’t have a phone, or if the app doesn’t work, or if you hate audience participation, you’ll be fine, you can just watch the show. You see, Blank! The Musical is an improvised musical, different each night, not unlike what you might see from any of the two-dozen groups showcased at last month’s New York Musical Improv Festival at the Magnet Theater. What sets Blank! apart is the app, a product of Livecube (“the world’s most engaging event app” according to its program bio), allowing the audience to offer suggestions and vote on everything from song titles to lines of dialog, unlike those other plebian improv shows that rely on the audience shouting and applauding to do the same. Well, that and the increased ticket prices ($29-$69) that come with the show’s Off-Broadway address at New World Stages. Continue reading

Flavorpill: Stalking the Bogeyman

Originally published on Flavorpill.

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“This time last year I started plotting to kill a man.”  Roderick Hill, portraying investigative journalist David Holthouse, opens Stalking the Bogeyman with this admission, and it’s clear from the get-go that this is going to be an intense evening of theater. Based on the real story of Holthouse confronting the man who raped him as a child, the stage version has been adapted and directed by Markus Potter, who first encountered the story (as many of us did) in a 2011 episode of This American Life. Potter’s production never shies away from darkness, and in the intimacy of New World Stages’ 199-seat Stage 5 theater, terrible acts of violence and vulnerability are close enough to leave the audience shaken. Continue reading

Flavorpill: Scenes from a Marriage

Originally published on Flavorpill.

Scenes from a Marriage

When the audience arrives at New York Theatre Workshop for Scenes From A Marriage, director Ivo van Hove’s three-and-a-half hour minimalist stage adaptation of Ingmar Bergman’s lauded 1973 Swedish miniseries-cum-feature-film, each patron receives a colored wristband and two pages of instructions on how this play will work. The audience is divided into three groups, each of whom will experience the first three episodes of the show in a different order, before taking a half-hour break and reconvening for a joint experience in a reconfigured theater space. Continue reading