Articles tagged with: Sandra Marquez
‘A Doll’s House, Part 2’ at Steppenwolf:
Sharp knock at the door, but is anyone there?
Review: Fifteen years after Nora Helmer famously – or perhaps infamously – walks out on husband and children at the end of Ibsen’s play “A Doll’s House,” what do you know but she’s back, knocking on that same door, and not exactly bonnet in hand. Indeed, Nora has found great success as a writer. What an intriguing conceit for the sequel Lucas Hnath has ventured in “A Doll’s House, Part 2,” now at Steppenwolf. Except that I came away with the distinct sense that Nora, the woman of the hour, was missing. ★★
‘The Roommate’ at Steppenwolf: Couple’s odd but the joke’s over when punchline goes dark
Review: Surely the first thing that will come to mind for many viewers in the opening scene of Jen Silverman’s play “The Roommate” at Steppenwolf Theatre is “The Odd Couple” – recreated here for two middle-aged women. Sharon is a dowdy Iowa mom living alone who takes in worldly New Yorker Robyn, who’s looking to get away from it all for a while. But “The Odd Couple” it is not. Silverman’s drama is ultimately tragic, and desperately sad. ★★★
Two Latino (or maybe it’s Hispanic) strangers discover common ground can shift in ‘Fade’
Review: Up to a point, I was quite charmed by Tanya Saracho’s play “Fade,” about two Latinos in different circumstances whose lives intersect at a television production company. I was engaged and delighted by what was spinning out as an edgy comedy in this co-production by Victory Gardens Theater and Teatro Vista – until events took a sharp turn. And then I was seriously impressed. Shaken, actually. Review: ★★★★
‘Electra’ at Court: As a bloody legend closes, mournful daughter pines for two more deaths
Review: In Sophocles’ “Electra,” the classic Greek tragedy of vengeance, now starring Kate Fry in an earthy, understated take on the title role at Court Theatre, the waiting game is all. One day, Electra’s hatred for her murderous mother Clytemnestra will be requited; one day, her prince will come. But the prince Electra awaits is her own, long-absent brother Orestes, who surely will avenge the killing of their father, King Agamemnon, by this woman and her illicit, usurping consort. ★★★★
Role Playing: Sandra Marquez, as Clytemnestra, sees an exceptional woman in the Greek queen
Interview: What would she, this modern woman, have done in the place of a legendary queen who has been abandoned by her warring husband, a man who also has sacrificed their daughter for the sake of his military campaign? That was the question on Sandra Marquez’s mind as she approached her complex portrayal of the vengeful Clytemnestra in Aeschylus’ “Agamemnon” at Court Theatre.
‘Agamemnon’ at Court: Queen welcomes king with smile and nice bath in his own hot blood
Review: Agamemnon, king of Argos and commander of the vast Greek expeditionary force that conquered Troy after 10 years of fighting, is home from the war at last – victorious, exhausted and, not least, wreathed in guilt. That is the proposition of Aeschylus’ tragedy “Agamemnon,” which now enters its final weekend of performances in an imaginative, keen-edged production at Court Theatre directed by Charles Newell. ★★★★★
Role Playing: Ramón Camín sees working-class values in Arthur Miller’s tragic Eddie Carbone
Interview: Some people will tell you Eddie Carbone, the Brooklyn longshoreman whose life disintegrates in Arthur Miller’s play “A View From the Bridge,” is the tragic victim of his attraction to the beautiful young niece who has grown up as his ward. But not actor Ramón Camín, who says he forged his gripping portrayal for Teatro Vista simply by taking Eddie as a man of his word.
Teatro Vista’s ‘A View From the Bridge’ frames tragedy of good man snared by nameless trap
Review: Great theater does not require introduction or advocacy. It announces and proclaims itself. It is, in other words, what it is. Behold the heart-breaking, thrilling greatness of Teatro Vista’s raw-boned take on Arthur Miller’s classic 1950s tragedy “A View From the Bridge,” the story of Eddie Carbone, a dock worker in Brooklyn’s Italian-American community scaping together a living even as he veers toward catastrophe. ★★★★★
‘The Happiest Song Plays Last’ at Goodman: Counterpoint of old guilt and quest for grace