The Most Fabulous Story Ever Told, City Theatre, June 10 - July 4

Paul Rudnick's play is cleverer and better crafted than you might suspect, given all the no-neck scandal over his playful recasting of biblical stories in goofy, unabashedly gay terms. The company plays the first act hysterically over the top, with flamingly naughty versions of the creation story and of the tale of Moses and the pharaoh, and almost -- almost -- a lesbian immaculate conception.

Adam and Eve become Adam and Steve, for example. In the paradise created progressively by that disengaged female stage manager ("Cue third day!"), they find one another dressed only in green jockstraps with fig leaves, and they explore the unexplained deights of the body like a couple of unsupervised kindergartners. The stage manager calls a timely blackout when the boys check out one another's little things, but we do get an eyebrow-raising simulacrum of anal intercourse.

Adam (Austin Rausch) follows his tempted curiosity out of the garden, plunging them all into the harsh world. Two women, firmly attached to one another, turn up -- Jane and Mabel (cf., Cain and Able, though the only close resemblance is in the names).Through their comic trials, flouncing Adam and sweet-natured Mabel (Chrissy Shackleford) intuit something more, something spiritual, but they're never quite able to express it. Neither matter-of-fact Steve (Marco Bazan) nor grumpy Jane (Katie Blacksmith)is buying that idea. Adam catches his breath, stunned with the happiness of the present moment and yearning to celebrate and to express thanks to someone - something. God? "Not in my house," returns Steve, his mouth tight and dismissive.

Click to read more at AustinLiveTheatre.com . . . .

The Life of Galileo, Mary Moody Northern Theatre, St. Edward's University, November 12 -22

A lot is going on in Brecht's The Life of Galileo, and not just onstage. The program notes at the Mary Moody Northern Theatre will help you some, with a tidy summary of the historical figures, the heliocentric Ptolemaic model of the universe, and the heretical but accurate Copernican revision of it, and some of the elements of the plot.

With that crib sheet you can comfortably follow the depiction of that impatient and skeptical scientist's lifetime tussle with the Catholic Church. Director Michelle Polgar, three Actors' Equity members and the student cast and crew will give you the story, unrolling it much of the time in a design of curiously reduced lighting, as if the dark ages were lingering, literally, in the period 1610 - 1634.

You will not get much of a sense of the intensely brainy Bertolt Brecht or his reasons for fastening upon those 400-year-old events. Study of any of the several texts that Brecht crafted between 1938 and 1955 would show you that ideas and apprehension -- Angst -- are fundamental to the work.

Read more at AustinLiveTheatre.com . . . .

The Lion, The Witch and the Wardrobe, City Theatre, August 20 - September 13

Director Bridget Farias and her cast have put together a jolly version of The Lion, The Witch and the Wardrobe, with loving attention to the eccentricities of Narnia creatures.

Audiences will enjoy the glim from the 2005 film version produced by Disney, which was the best selling DVD in 2006, but both that film and this script follow closely the novel for children written by C.S. Lewis in 1949.

When this production was announced through ALT, one parent, Tim, was plainly disappointed. " Wish they had kid friendly show times. After my kid's bed time is a bit late to see a play. Was looking forward to this one. Oh well...."

Another reader, Anonymous, noted that the City Theatre runs a 5:30 p.m. show on Sundays. That could solve Tim's problem, but it does raise another point: what's the target audience for this production?

Narnies, maybe, in analogy to "Trekkies"?

Read more at AustinLiveTheatre.com . . . .

Upcoming: Tartuffe, City Theatre, July 23 - August 16

UPDATE: Click for ALT review, July 27



PDATE: Sean Fuentes interviews director Charles P. Stites at Austin Theatre Review.com

Received directly:

Hypocrisy. Seduction. Greed. Betrayal.

The best of Moliere’s comedy with

Tartuffe

at City Theatre this summer July 23 – August 16


If it's hypocrisy, greed, and seduction you’re looking for this summer, look no further than Molière’s most famous farce, Tartuffe.

Under the cloak of religious piety, the lecherous, menacing, arch-hypocrite title character schemes to marry his benefactor’s daughter, seduce his wife, then defraud him of all he possesses. Does the scoundrel succeed? Take your seat and find out in this new and exciting adaptation of one of the world’s greatest comedies.

The production runs July 23 – August 16 at The City Theatre. It is directed by Charles P. Stites and features City Theatre company members Wray Crawford, Fiona Rene, D. Heath Thompson, and MacArthur Moore.

Molière’s masterpiece was written over three hundred years ago, but the classic has found a fresh reinvention at City Theatre with a modern staging that is even more immediate, identifiable, and hilarious. Rather than a classic that can be translated to a modern setting, Molière's play seems more of a contemporary play that just happens to have been written a few centuries ago.

Tartuffe and Texas were made for each other.

Read more at AustinLiveTheatre.com . . . .