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Stream it on Stratfest@Home. In 2022, Alice Childress’s play about love and hate, written in 1962, received its first major revival in 50 years, to much acclaim. The following year, “The Wedding Band,” was staged at the Stratford Festival in Ontario, making it a welcome second coming for our theater critic.
The play about an interracial couple — a Black woman, played by Antonette Rudder, and a white man, Cyrus Lane — who, in 1918 South Carolina, can’t wed, is a searing examination of a miscegenation nation. From Green’s critic’s notebook: It’s a joyful thing when a great play that seemed to be lost is found. How much more so when its greatness is confirmed and the play takes root in the soil of a new time.
New York is experiencing something of an explosion of Chekhov. “The Seagull” featured prominently in Theaterlab’s recent production of “Nina,” “The Cherry Orchard” is coming to St. Ann’s Warehouse next month, along with “Vanya,” an adaptation of “Uncle Vanya,” starring Andrew Scott, Andrew Scott and Andrew Scott (he plays every role).
You don’t have to be in a theater to take in Chekhov. If you’ve never seen “Vanya on 42nd Street,” the 1994 Louis Malle film of André Gregory’s production, now is a timely moment to watch.
In the 1850s, the scientist Eunice Newton Foote identified carbon dioxide as a greenhouse gas, an extraordinary breakthrough for climate science — and for women. If only her work wasn’t forgotten by her field. In the newest addition to the L.A. Theater Works’s catalog of audio theater, the playwright Amanda Quaid lays bare the real-life, groundbreaking discovery of a little-known scientist whose findings take on new relevance today.
The cult TV show “Smash,” about the travails of making of a Broadway musical based on Marilyn Monroe, is getting its own Broadway treatment in a stage adaptation of the series starting previews next month. To understand the obsession or refresh your memory, a binge might be in order. Both seasons are now available on BroadwayHD, where you can catch the Grammy- and Emmy-nominated pilot-closing hit, “Let Me Be Your Star” (which will set the opening number on Broadway).
Streaming is nothing new for the Detroit-based Obsidian Theater Festival. The program was founded in 2021 during the pandemic as a platform for emerging Black voices in theater and film — the first season featured actors in masks, streamed from a theater to viewers at home — but the idea was germinated the previous summer. Seeking a stage for Black storytelling, the founders began dreaming up a response to protest marches and rallies and to help amplify underrepresented artists.
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