The Scottsboro Boys

20863574_10155638855594464_1555720063175253618_oAs we began to write The Scottsboro Boys, it was immediately apparent why it was so important to tell their story.  Behind the headlines, the spectacle, the ongoing trials, the histrionics of politicians and lawyers was the story of nine young African American boys, determined to prove that they mattered…

–Composer, John Kander

Black lives matter.  Let’s consider also that the immensity of any individual life has to be looked at directly to show how and why—to enable a life to sing.  Pittsburgh Playhouse’s production of The Scottsboro Boys traps you into looking with its first breath, it opens on the silent chorus: an African-American woman, beginning to hyperventilate.

From the start, this is a violent twist of emotions.  It rings with the insanity of a culture whose proud integrity has been entirely and hypocritically forsaken.  It brings us to face nine individuals who are smacked suddenly with the fake virtue of a fiction called Justice and the humor of nonsense as horror.

The bitter irony of displaying this trial as a minstrel mimics the level of absurdity existent in Alabama’s justice system in 1931—Everything is a righteous farce.  Everybody is a clown.

Ivy Fox as The lady
Ivy Fox as The lady

We get to see this reflected in the eyes of that silent muse; the one woman chorus, Ivy Fox’s Lady.  Her silent acting does something for this show that manages it, conducts it.  It’s a powerful and strange tool, to have an emoting chorus who says almost nothing and yet says absolutely everything with her emanating presence.

Welcome to this world, a psychotic other dimension led by superstar showmen Billy Mason and Jr Whittington as Mr. Bones and Mr. Tambo.  These hosts are exceptionally powerful guides through the odyssey.  They fill ironic roles: the minstrelsy, fools.  Mason’s side-eye as he performs the tasks of Sheriff WhiteMan or Whittington’s haphazardness in his role as lawyer Johnny Walker; they are a strew of characters, diving into a critically injured American psyche that is in denial until satire can see it.  And they both lead sensationally.

Susan Stroman, the original Director and choreographer, remarks,

Typically minstrelsy uses white actors to portray African Americans in ways that are negative and disrespectful.  But we asked ourselves, ‘What if it were a group of African Americans playing white people?’  It would allow these nine actors to play white women, white prison guards, white sheriffs, white judges: it would allow them to play parts they would otherwise never play.

21457457_10155695876934464_8669559662130794580_oThis power gives credence to a performance like Joseph Fedore’s Eugene Williams, a 13-year-old boy who was sentenced to death for a crime he doesn’t even understand; tap dancing a song about the electric chair as he suffers the terror of having persistent nightmares about it.  The twisted and beautiful take on a holocaust moment where a terrified teenage boy and two corpses (Steven Etienne and Scott Kelly) can suddenly breakout into truly whimsical movement reflects a splendid, musical softness within such a deep, destitute lostness:

Hey little boy

look over there

that’s what they call

an eleca-tric chair

Or perhaps the same minstrelsy is reflected in performances like Jared Smith and Lamont Walker II’s as two Alabama ladies who accuse the Scottsboro Nine of a false rape.  So there are two of the Scottsboro Nine, then also playing their villainous false victims: what a quandary.  This preys upon the mercy for rape victims and satisfies the salvation of one at the expense of the many others who, with this false testimony, did not matter.  How to perform this on stage and yet still execute the joke of the substance, the sickness?

It’s done camp, with panache and with diva flare.  Charles Weems plays the hoot of his Victoria Price, the hammed up damsel in distress, playing on the rich cream of a woman’s successful acting causing nine men to be imprisoned and tortured for nothing.  The haunt of her success story is the catastrophe of these innocent men.  Or Walker II’s Ruby Bates, who within her song “Never Too Late” attempts to retract her testimony only to be met with a justice system who refuses her repentance.  Oh, how Lamont Walker II plays this woman up!  He brings her fully fledged, over-the-top to a place which takes the drag of it to a new level: he divas this woman, this false, redemptive victim into her breach into the mythology of the story: women are victims too.  It’s society that’s not real, that allows for this breach of trust.  And it’s a sorrowful farce, that rape culture can immediate the dramatic purging of nine black men, but the reality is we live in a cruel world with no clear answers and no promise of true justice.  So what do you do?  You sing.

21367051_10155695876799464_1080342176479291535_oThe entire ensemble carries so much precision and talent.  This show truly empowers in a creepy, disturbing way.  It irks to the point of inspiration.  It compels by getting under your skin.  Director and Choreographer Tomé Cousin leaves not a second of this two-hour show untapped for its active involvement with the audience.  It is so well-played, well-cast and harrowing.

I give special credence to Lighting Designer Andrew David Ostrowski whose seamless touchings of the characters provides a wealth of world within the limited stage frame.  The set was absolutely stunning within its minimal capacity, in that with almost nothing it does nothing but provide.  The brilliance of the chair set pieces, which construct and deconstruct so many levels of staging, show the capacity for a musical to be simple and so contained.  I loved those damn chairs.

This was an amazing, aggravating, horrifying and explosively powerful show.  I just wish it didn’t feel so relevant too.  I’ve never seen a tragedy so comedically charged, ironic and desperate; and so beautiful and horrifying as this.

The Scottsboro Boys plays at the Pittsburgh Playhouse in Oakland through September 24. For tickets and more information click here

Photos by John Altdorfer.

Woody’s Order!

WoodySliderAs it turned out, Ann Talman was, indeed, her brother’s keeper – literally.

Talman – a playwright and actress who grew up in Pittsburgh – has an older brother, Woody, who has severe cerebral palsy.

And in a one-act, one-performer play running through Feb. 19 at the Pittsburgh Playhouse – Woody’s Order!, making its debut here – Talman uses superb acting skills to turn her life story into a nonfiction stage drama.

Talman’s self-penned solo play has the simplest setup: just one performer on a tiny stage, giving multi-character monologues while a screen, set up in a structure that looks like the white border of a vintage Polaroid photo. Then, a wire studded with dozens of Polaroids from Talman’s childhood with Woody winds above the stage.

Yet sometimes the beauty of a show lies in its simplicity, which doesn’t preclude depth; in fact, the simplicity can enhance a story’s poignancy.

Ann Talman 8We see in Talman the passion, the pain, the enthusiasm and the humor of a woman who grew up with a sibling who has a major disability, and when her parents die, Talman becomes his guardian. It might be difficult to follow Talman’s changing characters at first – she plays herself, Woody, and her mother and father in dialogues. But once viewers catch on to the traits of each voice – along with the unique facial expressions, especially the squinty, grinning, “Mm-hmm!” of nonverbal Woody – we can follow Talman’s characters and story.

Talman especially channels her brother, who is still alive in real life. He communicates only with facial expressions and sounds, and nods his head to say “yes” or “no.” As simple as his persona may be, Talman makes it endearing and heartwarming. She obviously adores her brother and feels a fierce sense of loyalty to him, although she feels the inevitable frustration and resentment of someone who wants to live her own life and pursue her own dreams, unencumbered by the responsibility of caring for someone.

Eventually, Talman – who went to Upper St. Clair High School – did leave to live in New York City to pursue her dream of acting, which included time on the Broadway stage. She and her brother have remained close throughout their lives, though, despite physical distance at times. Her Broadway credits include “The Little Foxes,” “The House of Blue Leaves,” “Some Americans Abroad’ and “The Woman.”

Ann Talman 6The story of Talman’s baby-boomer life with Woody begins with Woody’s “order”: asking his parents for a sibling at age 8 by pointing at Mom’s stomach and Dad’s … er, lap. Talman’s parents, and especially her mother, really struggle with caring for Woody. Talman, the dutiful daughter, struggles with the overwhelming responsibility facing her, and concern for her parents. Yet all family members also get great joy from Woody, who is intelligent and quite funny at times.

After wrapping up its run in Pittsburgh, Talman is taking Woody’s Order! to Los Angeles. Hopefully, this wonderful play will make its way around the country. I especially recommend this show for people with family members and friends who have special needs, as the show will be highly relatable and comforting.

John Shepard – an actor, director and close friend of Talman’s – directs Woody’s Order!, which is a production of The REP, a professional theater company, based at the Pittsburgh Playhouse in Oakland.

Woody’s Order! plays Thursdays, Fridays, Saturdays and Sundays, through Feb. 19. Showtimes are 8 p.m. Thursdays and Fridays; 2 and 8 p.m. Saturdays; and 2 p.m. Sunday. Tickets are $10 to $29. Details: 412-392-8000 or

Special thanks to the Pittsburgh Playhouse for complimentary press tickets.

Photos courtesy of John Altdorfer

I’m Gonna Pray for You So Hard

14485152_10154572068509464_6864965656436858843_nI’m Gonna Pray For You So Hard is a play about a genius playwright father and his daughter, an aspiring actress who cares for him. The potently acted drama is a bit like David Auburn’s Proof, only a darker and more harrowing ride. The production of the play at the Pittsburgh Playhouse is the closest that I’ve ever gotten to a New York City off-Broadway production in Pittsburgh. The acting was particularly strong and while the play is engaging, there are certainly some elements in the script that detract from making the play completely engaging.

Martin Giles drops seamlessly into playing the role of David, a mean-spirited Pulitzer Prize-winning playwright who is deep in the process of trying to drink himself to death in an Upper West Side Apartment. David commences to tear through a long litany of curse words that at one part focuses on perhaps the most hated of all theater-goers, the critic. David’s focus then turns towards the director who has failed to recognize the talent of his daughter, Ella, played by Cathryn Dylan.

Much of the first half of the play is focused on letting David foam at the mouth with swear words. There are moments where David’s speech creates an atmosphere of uncomfortableness. There are moments where it seems like David keeps running on the one note of his tirade a little too long. But, in retrospect, most of this anger is needed to make the character work. David’s rage eventually even turns against his own daughter. At one point, David goes so far as to insinuate that Ella’s did not get the part because the director wanted to cast a pretty stress in the role. Meanwhile, Ella keeps helping her father to pour white wine down his throat, then marijuana, then cocaine. Eventually, David cools down at an alarming flick of the switch. Ella seems well acquainted with the terror of her father. But, that’s where the play hits one of its potential snags.

Photo credit: John Altdorfer
Photo credit: John Altdorfer

The character of Ella in the first act of the play exists only to adore and goad on her father. Ella seems to exist just to keep the man talking. At one point, while she sits in his lap, the relationship between David and Ella seems to veer towards tones of an Electra complex. But that moment is quickly defused. Ella continues to let her father talk and apologizes profusely when she interrupts. Cathryn Dylan portrays Ella as less of a meek or nervous woman, but a woman who blindly worships her father.

Sitting through the first act of the play, it is very easy for the viewer to also feel trapped in David’s world. The first half of I’m Gonna Pray For You So Hard is particularly challenging because the act extends for a much longer length of time than the second half of the play. Calling the part of the play after intermission a “half” is even a bit of a misnomer, epilogue would be more fitting.

In the epilogue that takes place many years later, Ella has become a successful and self-confident actress. Although we know precious little about Ella during the first half of the play, it is extremely difficult to view this woman as Ella. Ella has likely taken the psychological terror installed in her by father and used to become a cocaine hungry, celebrity who barks at people on their phones. Eventually, an older David, who has now survived a stroke, comes shuffling onto the stage. While we anxiously wait for the character to embark on another litany of swear words, we learn that David has become increasingly more peaceful in his later days.

The set design for the play was at a particularly high level. As was the stage direction. The play used every bit of the Studio Theater. And the design effectively evoked the mood of a New York City apartment. Musical and sound cues are used in small places throughout the play to sometimes distracting and sometimes successful ends. But, ultimately, the staging and set fall second to the acting performances, particularly the role of David. There is one staging technique that is used in the play’s epilogue that works particularly well at capturing the feeling of being trapped in an apartment with David. So, the staging and set while certainly effective and believable exist mainly to heighten the terror and anger of David.

And while I could muse on the play’s commentary about the trappings of fame, at the end of the day I don’t understand why either of the characters changed in the way that they did. Due to the strength of the actor’s performances, I buy the transformations of these two characters. I’m just not sure how to treat the disparate ends.

Special thanks to the Pittsburgh Playhouse for complimentary press tickets.

I’m Gonna Pray For You So Hard runs through October 16th. For tickets and more information, click here.

Wig Out!

14192187_10154511348529464_6830925276580346219_nIn the past few years drag culture has begun to stake its place in the public eye. Drag queens have, of course, been around forever but shows like Rupaul’s Drag Race have provided recent insight into the art and lives of drag. Previous musicals have had main characters who are drag queens, but their stories just lightly touch on drag culture. But now there’s Wig Out!, a newer show by Tarell Alvin McCraney that goes behind the curtain and into the tight and complex Queendom.

The audience is thrown into the world almost immediately; the queens have their own language, rules, and hierarchies. At the head of the House of Light is kind “mother” Rey-Rey, who runs a firm but loving house overseen by the house “father” Lucian, a hothead who never hesitates to show off his dominance. The plot picks up speed when the House of Light is invited to a Ball thrown by rival house, The House of Diabolique. A “ball” is a party but also a contest between houses, and the House of Light only has one day to prepare. Winners of contests get bragging rights; losers get “cut”. It’s a vicious party, and they take it very seriously.

Characters are expectedly large and dramatic, since drag isn’t exactly known for its subtlety. Most of the tension in the first act comes in the form of arguments that are caused mostly by sensitive egos. One of the queens, Ms. Nina (also called “Wilson”), picks up young man Eric on the subway and begins to give him a crash course on the drag world. Eric is obviously enticed by Wilson but has trouble grasping why he would want to live as Nina. Nina is patient with him, knowing that she can be a lot to handle and that her lifestyle doesn’t always mesh with everyone. Another queen, Venus, argues with her ex-boyfriend and house DJ, Diety, about gender roles in their sex life. And Lucian spends his time either trying to fuck everybody or threatening anyone who won’t fuck him. Lucian’s a complicated man. And an asshole.

That is the source of the drama in the show (forgive me: the DRAAAAAMAAAAA! In the show). It’s broken up by the humor in the catty snipes the queens make at each other. If drag humor is your cup of tea regularly, you’ll love it here. Sexual entendres, bitchy name calling, angry finger snaps. If you laugh and hoot every time someone says “Yass Queen!!” you’ll laugh and hoot here too.

But the crazy talented cast shines more when their characters get a chance to reveal themselves. Jordon Bolden and Justin Lonesome share many intimate scenes as Eric and Nina. Mr. Bolden makes Eric a little ignorant while still being charming, and Mr. Lonesome’s honey-voiced Nina is at times alluring, stern, and tragic. Jordan Phillips gives house mother Rey-Rey a strong backbone and presence, making it inspiring to watch her face her challenges and heartbreaking when she struggles. Jerreme Rodriguez succeeds in making Lucian sexy and alluring, while also making him someone very easy to hate. The entire cast also does excellent work individual monologues, all starting with a recurring phrase, that provide emotional background on their lives before the House of Light.

Act two opens at the Ball, easily the most captivating part of the night. Connor McCanlus starts it off with some hilarious audience interaction as rival (evil) queen Serena. Then the ball begins, showcasing the fantastic and energetic dancing of Freddy Miyares (Venus), LaTrea Rembert (Diety), and Jared Smith (Loki, Serena’s stooge). Britton Mauk’s fantastic set becomes an explosion of color as it transforms into a crazy club scene with Andrew Ostrowski’s lighting design. Robert C.T. Steele’s costumes, which are on point for the whole show, really shine at the Ball, ranging from Serena’s insane “evil queen” dress to Rey-Rey’s more elegant “Aunt Viv number one” style.

While the queens all do the drag, the “real girls” of the House of Light get to do some real singing. Krista Antonacci, Arica Jackson, and Amber Jones played the Fates Three, three ladies in the House who also serve as the show’s Greek chorus. In some scenes their dialogue feels a bit unnecessary, while in others their presence is crucial. The ladies and musical director Jane Howell deserve a shoutout to the power that their vocals and song choices brought to the production.

As the play just shows twenty-four hours in these characters’ lives, not everything is all tied up neatly at the end. Some characters have learned a few things, while others are left in less-than-desirable situations. The breaking point in act two dissolves away quickly in a way that’s not exactly reassuring, but one thing is clear: this is a true family. Their family is nontraditional and may not be accepted by everyone, but they are each others’ backbones. It’s a powerful and uplifting story that brought the crowd to its feet for a long ovation on opening night.

Wig Out! runs at the Pittsburgh Playhouse through September 25th. For tickets and more information, click here.

Special thanks to the Pittsburgh Playhouse for complimentary press tickets.

Pittsburgh Playhouse Brings Dramaturgical Powerhouse Season

playhouseAudacious drag queens, a surreal reimagining of The Tempest, the devastatingly pointed Harriet Beecher Stowe slave narrative, and the indomitable grimy charm of a deaf and blind pinball wizard are only a few of the exhilarating highlights set to tantalize audiences in the fantastic upcoming Fall 2016/Spring 2017 season of Point Park University’s Pittsburgh Playhouse.  Putting forth a powerhouse dramaturgical trifecta, The Rep will launch the season with Tarell Alvin McCraney’s astoundingly multidimensional Wig Out!” Centering on the explosive personalities, incandescent interwoven galaxies of culture and presentations of selfhood, and outlandishly unique language and dialects of performance of queer and drag communities, Wig Out! is a lavishly dramatic and sonorous telling of Eric, a gay man dubious of the world of drag and the gender/relational dynamics that ensconce it, as he falls for Wilson—or Ms. Nina as he is known in the World of Light, the drag world that functions as an ethereal, alternate universe in the play’s mythology—and is inculcated into the complex, rapturously rich tapestries of the drag world and the intersections of gender expression, sexual desire, and politics of body and place.  Directed by the acclaimed Tome Cousin (who has most recently helmed Guilin in 2016), the play—scintillatingly and deliciously risqué (so, cautioned to be for more mature audiences) will preview September 8th and have its complete run September 9th through 25th at Point Park’s Rauh Theatre.The Rep

On the divine heels of Wig Out!, a more subdued but equally provocative portrayal of fraught interpersonal dynamics and dialogues, director Robert Turano will present the Halley Feiffer sardonic off-Broadway piece, I’m Gonna Pray for You So Hard.  With an attention-grabbing title that sends queasy shivers down a former Christian schoolgirl’s spine, Feiffer’s Outer Critics Circle Award nominated play is a rivetingly intimate examination of an abrasive-father/daughter relationship, set in the intense agonizingly eternal moments awaiting the reviews for the daughter’s (Ella) stage debut.  The onslaught of sly fatherly eviscerations of a daughter’s burgeoning career will be staged September 30th through October 16 in the Studio Theatre (and, as with any scathing family piece, is recommended for mature audiences).   Concluding the Fall/Winter season is the profoundly inventive one-woman show, Woody’s Order! written by Ann Talman, which is centered around the axiomatic quandary of being one’s brother’s keeper.  Woody’s Order!—which alludes to the magical command of the lead’s brother, Woody, who pines for a sister and wills his mother to have another child—is one woman’s delineation of her magical birth and the imperative care for her brother and the essence of one’s duties in life.  The play, directed by Point Park’s John Shepard, will feature at the beginning of 2017 at the Studio Theater, previewing February 2nd and running February 3rd-19th.CTC1

Certainly a veritable equal match in compelling dramaturgy this impending season, the Conservatory Theatre Company will present a robust lineup of six plays spanning from boisterous musical legends to a raucous revenge on a Christmas standard.  Quite literally kicking off the season clad in denim and snarling bite is the Pete Townshend’s The Who’s Tommy.  Based on The Who’s ecstatically rocking 1969 double album rock opera Tommy, the musical, which debuted in 1992, is the bildungsroman of an emotionally turbulent boy—the titular Tommy—who is born amidst the rubble of the end of the Second World War who loses his sight and hearing at a young age after witnessing a violent murder at the hands of his father.  The play, which follows Tommy’s ascension to a pinball wizard and tormented almost cult figure, will be directed by Zeva Barzell and run at the Rockwell Theatre from October 21st-October 30th.  Taking on the sometimes daunting task of yet again reinventing Shakespearean themes, Edward Bond’s bizarrely tumultuous The Sea will follow the quintessential rock opera.  Directed by Point Park’s David Cabot, the play—steeped in the somber melodrama of Edwardian England—toys with Shakespeare’s The Tempest as it delves into the themes of loss, grief, and, naturally, alien hysteria as the protagonist Willy grapples with the ineffable mourning and guilt of failing to save his friend from drowning, as his home village internalizes that mourning and their own hysteria in acute extraterrestrial occupation paranoia.  The quasi-farcical drama will run from November 11th to December 4th at the Studio Theatre. Closing out 2016 will be the irreverent kiss-off to Christmas spectacles and homage to childhood angst in The Best Christmas Pageant Ever! Directed by Philip Winters, which chronicles six devious children’s plot to spoil the Yuletide pageantry in their pursuit of free snacks.  The outlandish comedy will run December 9th-18th at Rauh theatre.CTC2

Embarking on 2017, Point Park will put forth Charles L. Mee’s—noted for his mosaic-esque dramaturgical style and a background in reconstructing historical texts—Aeschylus-reminiscent experiment Big Love (no relation to polygamy or Bill Paxton).  The play’s action is catalyzed by the mass-fleeing of fifty brides who are attempting to escape betrothal to their own cousins, and fixates on the meta-dialogues on issues of gender disparities and the nature of love and commitment between three couples.  Big Love will be helmed by Reginald Douglas—whose directing credits include Paradox of the Urban Cliché and Lines in the Dust- and will run in the Rauh Theatre from February 24th to March 12th of 2017.  Keeping 2017 going theatrically strong, Miachel Rupert will direct the Conservatory in staging another musical flush with pop-splendor in Sweet Charity.  Featuring lyrics by the iconic librettist Dorothy Fields and based on the book by the tried-and-true New Yorker Neil Simon, Sweet Charity reflects on the at times amusing, at times crushing volatility of love and finding one’s true self (if that’s even a feasible reality, after all).  Exposing the minor-catastrophes of love in the dizzying swarm of New York, the musical will run March 17th to March 26th at the Rockwell Theatre. Finishing the season with a poignant historical narrative, Tome Cousin will debut his talents yet again in staging Uncle Tom’s Cabin Or the Most Popular American Play You’ve Never Seen: an adaptation of Harriet Beecher Stowe’s pivotal slave narrative by George Aiken, depicting the environment, injustices and aching ramifications of Tom, besieged by the hostile world of American slavery.  Uncle Tom will close out the spring season.

In addition to the phenomenal repertoire lined up for the Fall 2016/Spring 2017 seasons, Point Park’s tremendously talented Conservatory Dance Company will present four collections beginning in October.  The Student Choreography Project will debut three days (October 14th-16th) of original student choreography at the GRW Performance Studio, allowing for an eclectic mix of individual-minded choreographic and stylistic output.  November promises the evocative collection put forth in the Contemporary Choreographers performance, staged at the GRW Performance Studio from November 16th-20th, an endeavor in transcendent movement with new pieces by David Norsworth, Helen Simoneau, James Gregg and Stephanie Martinez.  Ballet Off-Center will take the stage at Rockwell Theatre from December 2nd to December 11th, highlighting the contemporary, experimental talents of up and coming ballet choreographers and featuring new works by Darrell Moultrie and Jason McDole (among others).  The faculty choreographers will join forces with the Conservatory’s dancers to produce CDC at the GRW Performance Studio, spotlighting the bevy of rhythmic and dance styles across genres from February 23rd to 26th.  Finally, the Conservatory’s impressive season will concluded with the CDC at the Byham Theatre, showing April 13th to 15th, and will be a showcase of the multifariousness of dance and performance, and feature the swan song of cherished Point Park dance faculty member Doug Bentz.

Point Park’s ambitious and excitingly diverse Fall 2016/Spring 2017 lineup seeks to provoke, to titillate and to challenge conventions of performance with these daring, fascinating pieces.  Be sure too to make time for the youthful talents at Playhouse Junior in such plays as Pinkalicious (May 3rd-21st at Rockwell Theatre) and The Adventures of Nate the Great (May 4th-21st, Rauh theatre).

For tickets and more information about what the Pittsburgh Playhouse has to offer, click here.

Check out the rest of our Collegiate Preview and follow along with our Collegiate adventures on our Facebook, Twitter, and Instagram with the hashtag #PITRUniversity!

The Flick

Winner of the 2014 Pulitzer Prize for Drama, Annie Baker’s The Flick peeks behind the curtain of a run-down movie theatre as three lowly ushers mop spilled soda, sweep popcorn kernels, and tend to the day-to-day, humdrum workings of one of the Northeast’s last non-digital venues. Tender and clever, Baker’s dialogue brilliantly captures the ennui of the underpaid, underemployed young people.

The Flick

Winner of the 2014 Pulitzer Prize for Drama, Annie Baker’s The Flick peeks behind the curtain of a run-down movie theatre as three lowly ushers mop spilled soda, sweep popcorn kernels, and tend to the day-to-day, humdrum workings of one of the Northeast’s last non-digital venues. Tender and clever, Baker’s dialogue brilliantly captures the ennui of the underpaid, underemployed young people.

The Flick

Winner of the 2014 Pulitzer Prize for Drama, Annie Baker’s The Flick peeks behind the curtain of a run-down movie theatre as three lowly ushers mop spilled soda, sweep popcorn kernels, and tend to the day-to-day, humdrum workings of one of the Northeast’s last non-digital venues. Tender and clever, Baker’s dialogue brilliantly captures the ennui of the underpaid, underemployed young people.

The Flick

Winner of the 2014 Pulitzer Prize for Drama, Annie Baker’s The Flick peeks behind the curtain of a run-down movie theatre as three lowly ushers mop spilled soda, sweep popcorn kernels, and tend to the day-to-day, humdrum workings of one of the Northeast’s last non-digital venues. Tender and clever, Baker’s dialogue brilliantly captures the ennui of the underpaid, underemployed young people.

The Flick

Winner of the 2014 Pulitzer Prize for Drama, Annie Baker’s The Flick peeks behind the curtain of a run-down movie theatre as three lowly ushers mop spilled soda, sweep popcorn kernels, and tend to the day-to-day, humdrum workings of one of the Northeast’s last non-digital venues. Tender and clever, Baker’s dialogue brilliantly captures the ennui of the underpaid, underemployed young people.