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Dorset camps out with visceral Queen of the Night | Entertainment
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Dorset camps out with visceral Queen of the Night | Arts And Culture
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Review: Seize the King Looks at Richard III as a Model for Tyrants Past and Present
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NYT Critic s Pick
Have you been ravenous, lo these many shutdown months, for the layered richness of live theatrical design? The Classical Theater of Harlem has just the thing to sate your hunger.
Ambitious design is one of the hallmarks of this company, and it is an absolute joy to encounter it again in such fine form in Will Power’s “Seize the King,” a contemporary verse spin on “Richard III,” in Marcus Garvey Park.
The brothers Christopher and Justin Swader, old hands at transfiguring the utilitarian stage of the Richard Rodgers Amphitheater, frame Carl Cofield’s production with a set that is both monumental and minimalist, aglow with Alan C. Edwards’s canny lighting. In the gathering dusk, we gaze on its stony surfaces and square-edged sconces, and enchantment begins even before the show does.
âSeven Deadly Sinsâ Review: Pride and Pole Dancing Behind Glass
This array of short plays has viewers in headphones wandering the meatpacking district for stylish, but shallow, theatrical thrills.
Along with some choice lip-syncing, Shuga Cain welcomes the audience to âSeven Deadly Sins.âCredit.Sara Krulwich/The New York Times
June 29, 2021
Sex and spectacle are on the menu in âSeven Deadly Sins,â a sumptuously staged, deliciously outfitted exploration of vice performed in the meatpacking district, once home to slaughterhouses and sex clubs, though now more about trendy dining and swanky shopping.
Yet this feast for the eyes â bringing to life seven short plays performed in storefronts to audiences who mostly watch through glass but listen on headphones â turns out to be more about appearances than anything else.