Noted director Marcela Lorca, who has helmed the training program since Washington’s death in Nov. 2014, directs “Incurable” with lyricism and humor. The performances are funny, in-the-moment and well-timed. The script, which has many contemporary touches, includes an angel on rollerblades (Aishling Pembroke).
Guthrie Theater Dowling Studio A devised play written and performed by the Guthrie Experience Company of 2017 Directed by Marcela Lorca Assistant Direction by Sun Mee Chomet Scenic Design by Nick Golfis Lighting Design by Karin Olson Costume Design by Sarah Bahr Sound Design by Katherine Horowitz Songs by Brett Calo Properties by Abbee Warmboe […]
Fast-moving and provocative, Disgraced turns a sophisticated dinner party among social elites into a slow dissolve of their pretenses about having risen above ethnic worries and stereotypes. Running through February 12 at the Quadracci Powerhouse, it is the best directed and acted Milwaukee Rep play experienced of late, fulfilling its 2013 Pulitzer-winning reputation as the sort of conversational theater that grows in conflict, meaning and impact over its 90 minutes.
I won’t divulge how or why this foursome comes unglued, except to tell you that it’s wholly credible and expertly paced; credit director Marcela Lorca’s crisp direction and strong acting from the entire cast.
With marvelous performances by the cast under the sublime direction of Marcela Lorca, “Disgraced” should be a must see for everyone who watched or didn’t watch the folderol of inauguration day for Donald Trump. Lorca deserves immense credit for letting this play proceed at a natural rapid pace. There is little room for breath in these performances, and they’re all the more real because of it.
Of the three productions I’ve seen of Ayad Akhtar’s honest, far-reaching play, Marcela Lorca’s staging for Princeton’s McCarter Theatre is the best.
This is the first time I’d seen a play where the audience literally gasps.
Happily, the McCarter Theatre Center’s mounting of “Disgraced”– its New Jersey premiere, and the play’s first area staging since an acclaimed 2014-15 Broadway run — does full justice to the snap, crackle and pop of Akhtar’s provocations.
Akhtar provides no easy answers in Disgraced, but raises provocative questions and issues that deserve attention, and cannot be resolved by changing immigration policies, requiring special identification, or building walls.
Marcela Lorca’s clean and purposeful staging elegantly matches the economy of this powerful story.