If “Parable” insists on the power of art to create change, Nature Theater of Oklahoma’s punchy “Pursuit of Happiness” doubts that art can do anything. It is the definitive statement — if any were needed — that bringing interpretive dance to a battlefield is a really bad idea. (I saw both at the Public Theater’s Under the Radar festival; “Parable of the Sower” next heads to Fairfield, Conn., while “Pursuit of Happiness” tours internationally.)
The study, released Monday, examined the 2015-16 season and found it to be the most diverse the group has reviewed so far, with 35 percent of all roles going to minority actors, up from 30 percent the previous season and 24 percent the year before that. The coalition has now compiled 10 years of data on diversity on New York stages.
“I want to find a way to help, but I can’t go to the protests,” says Monica Victoria Tatacoya Castañeda, a Mexican-born, 19-year-old feminist from Brooklyn whose immigration status — she is enrolled in the Deferred Action for Childhood Arrivals program — means that she can’t risk arrest. “So I have to look for another way.”
Gil seems more interested in Jen’s bread-winning potential than in her painful struggle to regret her advantages. He doesn’t love being part of her decolonialization project. At the same time, Jen is less than impressed with Gil’s frequently touted feminist credentials. “How, specifically, do you support women,” she asks, “besides being vaguely personally effeminate?”
To be clear (or as clear as it’s possible to be in discussing a chimera), Ballyturk is not quite the setting of “Ballyturk,” which is directed with rabid verve by Mr. Walsh and features a highly expressive cast of three. That quaint, gossip-clotted town doesn’t really exist, except in the imaginations of a fraternal pair identified only as One and Two.
This image of Hansberry — exasperated, fatigued and sympathetic to the nationalist ideologies that would later blossom in the Black Power movement — might surprise those who know her only through the success of “A Raisin in the Sun.” With that much-lauded play, about a working-class African-American family on the verge of racially desegregating a Chicago suburb, Hansberry became the first African-American woman to have a show produced on Broadway, in 1959.
The only thing making noise onstage during John Lithgow’s “Stories by Heart,” which opened Thursday evening at the American Airlines Theater, is Mr. Lithgow himself. Reciting Ring Lardner’s 1925 short story “Haircut,” set in a small-town barbershop in the Midwest, he brings an anthropologist’s specificity (and a Foley artist’s ingenuity) to every swoop of the apron and slap of the pomade that accompanies the main character’s monologue.
It’s a new уear, which means it’s time to shed stale habits and blinkered perceptions. The New York theater is obliginglу presenting a host of deliberatelу disorienting productions from an international arraу of artists this month, in works designed to rearrange уour mind and shake up уour senses. Fixed notions