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Wesley Doucette

Wesley Doucette

Wesley Doucette is a New York based choreographer/director and dancer.  His works which he produced, directed, and choreographed include The Threepenny Opera, the medieval morality play Everyman, and a silent drama production of The Rite of Spring, for which he received the award of "Outstanding Student Director" and "Best Student Choreographer" by the Kent State University faculty.  He was a core company member of The Orchard Project this past summer, where he studied under and worked alongside some of the most renowned artists and theatre/dance companies in the country. Having graduated with degrees in both Theatre Studies and Art History Wesley writes as a "theatre historian" for The New York Theatre Review.  He offered a discussion regarding the artistic development of the Ballet Russe from 1909-1913 at Kent State University's Performing Arts Library colloquium series. As a dancer, Wesley has performed in multiple concerts and has a professional  background in a variety of dance techniques including tap, butoh, acrobatics, ballet, and modern.  He is also a portrait artist and photographer.  Please visit his

For the past half decade Justin Sayre has solidified an evening's worth of wit, talent, and insight into a streamlined program simply entitled The Meeting*. Alternating between venues over its development and at last finding a monthly home at Joe's Pub, "The Meeting*," as Sayre decries it, is that of the "IOS" or "International Order of Sodomites." The performance alternates between Mr. Sayre's comedic voice as self-appointed IOS chairman and performances by talented artists. This past month's meeting was held in honor of Julie Andrews, and each talent provided their own artistic take on the famed actor. 

In the pantheon of 20th century music John Lennon ranks in the highest echelons. An artistic martyr, he is near unanimously appreciated as a figurehead of the hippy era with his life and death mythologized to the point of legend. In Lennon: Through A Glass Onion at The Union Square Theatre, John R. Waters and accompanist Stewart D'Arrietta give a minimalist documentization of Lennon's life and work. Sadly though, this piece exhumes neither the personal humanity or sense of artistic connection that rendered him an icon and which retains him in the artistic psyche still today.

It's no secret that a society's historical landscape is unevenly cultivated. While the statement "history is written by the winners" is far fetched and fatalist, the fact remains that due to society's innate perspective bias, entire vistas of history's landscape can be lost for generations or even for eternity. Conscious of this fracture in historical perspective Infinite Variety Productions has taken it upon themselves to explore one of history's most disregarded domains, the stories of women.

The francophiles packed into Joe’s Pub this past Bastille day to attend Love is French” a cabaret evening performed by the authentically francaise Floanne. The chanteuse, taking advantage of the intimate communicability of Joe’s Pub, included an interactive twitter element. Perhaps in her bravest move, she had projected a Twitter board behind her where she invited members of the audience to exclaim their love experiences. While this interactivity was seldom used by the audience, the moments it was were sweet.

Contemporary rape discussions very often comfort themselves within a sterile space of legal absolutism. More often than not the discussion will move from one gray area to the next before digressing to the gospel of a legal statement. The Long Shriftproduced at Rattlestick Playwright’s Theater, doesn’t defer to such simple politics but instead diverts the conversation away from social justice and toward legitimate paths of personal healing for those effected by such an event.

Tuesday, 08 April 2014 04:19

Broadway Review: A RAISIN IN THE SUN

While it might be Denzel Washington's name which graces the billboards and marquis for the new Broadway revival of A Raisin in the Sun at the Ethel Barrymore Theatre, the spotlight is unchallenged in its focus on the revival's star, Lorraine Hansberry. There is a leaflet in the playbill on Hansberry by James Baldwin entitled "Sweet Lorraine." In addition to this touching ode, an interview with Hansberry is played for the audience in which she discusses the fight to find truth in American mainstream performance in regards to race. With these articulated artistic shortcomings still pervading American culture over half a century following the first Broadway production, it was the egoless intention of the performers to search for this truth and deliver it to a spectacularly game audience.

The immersive experience in theatre is unavoidable today and it’s easy to see its appeal. Immersion lends itself to the immediate and ethereal nature of live theatre which, thus far, is irreproducible in any other media. Though, with such innovations so quickly turning to gimmick, the challenge which Cynthia von Buhler faced with her Speakeasy Dollhouse: The Brothers Booth, presented by Stageworks Media at The Players, was how to add more than “just water” to the site specific trend.

Mia McCullough’s Since Africa , performed by The Red Fern Theatre Company, utilizes a foreign perspective to offer new light on the nature of disconnecting and resolution in 21st century America. The plot centers on Ater Dhal (Matthew Murumba) , a “lost boy” of the Sudan, as he assimilates into American culture with the aid of pastor Reggie Hudson (Elton Beckett) and a wealthy volunteer Diane MacIntyre (Jennifer Dorr White) whose husband died recently on a trip to Africa.

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