Posts Tagged ‘Theatre Of NOTE’

THE ALLSTORE


Life is a living hell for the minimum-wagers staffing The AllStore in Evan Marshall’s pitch-black, trigger warning-packed, frequently hilarious counterpoint to ABC TV’s feel-good Superstore, now getting its World Premiere at Theatre of NOTE.
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KILL SHELTER: THE RED CAST


A return visit to Theatre Of NOTE to catch the “Red Cast” in Ashley Rose Wellman’s Kill Shelter provides additional proof that (to quote from my original review) this is “not only one of the most remarkable new plays I’ve seen in a very long time, it’s the best Theatre of NOTE production I’ve reviewed since the company’s streak of winners in the mid-2010s.”
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KILL SHELTER: THE BLUE CAST


Not only is Ashley Rose Wellman’s Kill Shelter one of the most remarkable new plays I’ve seen in a very long time, it’s the best Theatre of NOTE production I’ve reviewed since the company’s streak of winners in the mid-2010s.
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NIMROD

Criminal Minds’ Kirsten Vangsness steals every scene she’s in as our 45th president seen through a farcical Shakespearean lens in Phinneas Kiyomura’s Nimrod, a wild and wacky Theatre of NOTE World Premiere that’s a bit too all over the place to truly hit the mark.
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CLOWNFISH

Playwright Amy Dellagiarino’s script shows considerable promise, but her Theatre of NOTE World Premiere comedy Clownfish would work a whole lot better had the director reined in one particularly over-the-top performance (and those around it in the play’s frenetic midsection).
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FRUITION

If dystopian thrillers are your thing, you may buy into the post-apocalyptic world imagined by Alexis DeLaRosa in Fruition, a Theatre Of NOTE World Premiere. If not, you’ll likely find yourself less enthralled by what DeLaRosa imagines in store for the USA as we know it.
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DRIVING WILDE

Though it goes haywire about halfway through, Driving Wilde, Jacqueline Wright’s trippy contemporary Americanized take on The Portrait Of Dorian Gray, is far from dull.
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MARIAN, OR THE TRUE TALE OF ROBIN HOOD

Maid Marian is far from the only resident of Nottingham and its neighboring Sherwood Forest to blur gender and sexuality in Adam Szymkowicz’s LGBTQ-celebratory, song-and-swordplay-packed Marian, Or The True Tale Of Robin Hood, one of Theatre Of NOTE’s most exhilarating hits in years.
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