“This delicate, ingenious play is about identity. Are we who we say we are? Or who we’re told we are? Both, though the heartiest put stock in the former rather than the latter,” remarks reviewer David Patrick Steams of the Philadelphia Inquirer.
This two-man play, written by Thomas Gibbons, questions the powers of science and the human brain – just because we have the knowledge and power of science behind us, does that mean that we should use that power? Sally Mercer plays a scientist, at the forefront, yet older end of her field, and Frank X plays the research project, the robot with “adult intelligence but little knowledge, much awareness but no experience.”
“The well-investigated production directed by Seth Rozin walks as many fine lines as the script. At first, I wondered whether Sally Mercer was too unscarred to be a retirement-age researcher. But while maintaining ultra-professional restraint, Mercer somehow ages before our eyes as her sorrows multiply. Frank X delivers a masterful metamorphosis from cipher to worldly billionaire with hugely resourceful use of vocal color. But his hallmark is where words stop and implication begins. How many actors so eloquently think on stage?”
To read the full review, follow the link to the Philadelphia Inquirer’s article HERE.
Garrett Lee Hendricks, left and Ezra Knight in Robson’s PLAYING THE ASSASSIN.
David Robson was a football fan growing up. He still remembers that preseason game in 1978, when Jack Tatum of the Oakland Raiders, hit Darryl Stingley of the New England Patriots so hard that it rendered him a quadriplegic.
In 2010, Robson learned of Tatum’s death from his obituary, which was titled, “Jack Tatum, Whose Tackle Paralyzed Player, Dies at 61.” Robson began to contemplate the idea of being remembered, and the tragedy of being remembered by a single incident, whether good or bad, when an individual was alive for so many years.
From that, an incredible play was born.
To read the full interview, which captures the true inspirations of the story and Robson’s feelings, click HERE.
“Something visceral and vivid is taking place at the Denver Center, where the musical THE 12 is receiving its world premiere. Robert Schenkkan wrote the book and Neil Berg the music. The two share credit for the lyrics of this boldly compassionate work that imagines the disciples’ very human angst in the hours after their teacher was executed. Let there be long shadows. Let there be anguish and suspicion. Let there be deep fear and hard-wrought faith. So might go the promise of this beautifully performed work.”
Reviewer Lisa Kennedy gives THE 12, a musical explaining the anguish-filled moments after the Disciples learn what has happened to Jesus, a 4-star rating.
To read the full raving review, or to learn more about ticket information and the musical, click HERE.
Hartford, CT – “Get swept into the devastating verbal and physical encounter between two men determined to put the past at rest by whatever means at their disposal.”
David Robson‘s PLAYING THE ASSASSIN, based on the true story from 1978, when Oakland Raider star Jack Tatum tackled New England Patriot wide receiver Daryl Stingley with such force that Stingley never walked again. Here, the action picks up two and a half decades later, when Frank Baker is given a golden opportunity: CBS wants him for a pre-Super Bowl interview where, for the first time, he will confront Lyle Turner on air.
To read the full review and for ticketing information, please follow the story HERE.
NBC has revealed that The Wiz will be the network’s third annual live-musical event. The latest adaptation of the 1974 Broadway show, Book by William F. Brown with Musical and Lyrics by Charles Smalls, a retelling of The Wizard of Oz with an all-black cast and a Quincy Jones-produced soundtrack, will be co-produced by Cirque du Soleil’s theatrical division.
After the musical airs live on NBC on December 3rd, the new Wiz will then “Ease on Down the Road” to Broadway with a revival scheduled for the 2016/’17 season.
To read the whole article by Rolling Stone, click HERE.