As the audience enters the theater for the performance of Adam Rapp‘s taut The Edge Of Our Bodies (in the Guthrie‘s Dowling Studio, through Nov 20), actor Ali Rose Dachis sits, prim and unmoving, on the edge of a chair. She wears a schoolgirl’s plaid skirt, white knee highs, a frilly blouse (designed by...
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Steph is angry. Angry is to put it mildly. Steph is furious, screaming, in a state of howling rage, throwing pillows, stomping around the bedroom, spewing the fuck word and various other obscenities with machine-gun-like abandon. Her boyfriend Greg, the object of her wild fury, does his best to soothe and calm her –...
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Playwright Tarell Alvin McCraney lives in London and, indeed, his powerful In The Red And Brown Water (Pillsbury House Theatre performing in the Guthrie‘s Dowling Studio, through June 5) is written with an expatriate’s ardor. This begins with the play’s mythical smalltown Louisiana setting. Louisiana is, at least from this northerner’s perspective, the prime...
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In the 1990s during the War in Bosnia and Herzegovina, over 100,000 people were killed and more than 2 million people displaced in one of the most horrific set of human-inflicted tragedies since WWII. Heaven, a new work by Flying Foot Forum, directed by Joe Chvala with music by Chan Poling (The Suburbs, The...
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Theater Latté Da’s new musical, Violet – nicely suited to the Guthrie’s black box space, the Dowling Studio Theater – is a tight little ensemble piece that spins along like the bus carrying its title character on her literal and metaphorical journey. Weaving past and present into one (isn’t it all just one life...
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David Henry Hwang calls the question very early in Yellow Face (produced by the always worthwhile Theatre Mu in the Guthrie’s Dowling Studio, through Feb 21, guthrietheater.org): “Is race a meaningless construct?” Who, the play asks, is more authentically Chinese? The successful American whose Chinese ancestry is impeccable or the white man who travels to China...
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