35th Marathon of One-Act Plays: Series C OFF-BROADWAY REVIEWS

Photo: Gerry Goodstein

  • Opening Night:
    June 13, 2015
    June 27, 2015

    Theater: Ensemble Studio Theater / 549 West 52nd Street, New York, NY, 10022


    From a science lab in Siberia to the red-light district in 18th century Japan to a taxi in Manhattan to a police station in Kenya--Let the 35th Marathon of One Act Plays take you on a series of surprising adventures. "Ensemble Studio Theater’s annual one-act-play marathon is always entertaining and rich in solid performances." - The New York Times, 2014. 14 new plays by 15 playwrights will be presented in three separate evenings.

  • NEW YORK TIMES REVIEW OF 35th Marathon of One-Act Plays: Series C

    Confessions Abound in Ensemble Studio Theater’s One-Act Marathon

    Ken Jaworowski

    June 17, 2015: Playwrights, appreciate your actors. Sometimes they’ll save you from yourself. That’s especially true at Series C of Ensemble Studio Theater’s Marathon of One-Act Plays, in which an exceptional team of performers shores up some of the weakest writing and makes the good plays even better. The shakiest piece comes first, “Devil Music” by Angela Hanks. Here, Daniel Morgan Shelley and Crystal Lucas-Perry carry a tale of unrequited love with more skill than the long-winded and frequently implausible script merits. The cast of “Good Afternoon” by Daniel Reitz has a far better story to work with, and the actors don’t waste a line. Haskell King is superb as Glen, a registered sex offender who is required by law to announce his presence to new neighbors. He knocks on the door of Lorrie, a lonely woman nicely played by Kersti Bryan. The resulting interaction between these two quirky people manages to be both witty and sincere. You may guess much of “The Science of Stars and Fathers and Daughters” before it happens — the plot follows a parent-child relationship over several years, in the vein of Harry Chapin’s song “Cat’s in the Cradle” — yet in spite of the obvious heart-tugging, Darcy Fowler’s play is wholly gratifying. Michael Cullen and Emma Galvin are wonderful in their roles, aided by Linsay Firman’s smart direction.



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