IN MEMORY: This is the newest play by the excellent young writer Kimberly Pau. Three of her earlier plays are available on 
GAYFEST: We always look forward to this intimate, highly professional mini-festival that celebrates new and emergent work from the LGBT American theater community. This year's festival kicks off with Scott Sickles' Moonlight & Love Songs, and concludes with a brand new play, The Loves of Mr. Lincoln. 
THE LAST CYCLIST: Newest Reviews on nytheatre.com
THE WEIR
Reviewed by Pamela Butler (May 22, 2013)
Nice, on an overcast sticky day, to slip into a theatre seat and feel like you’ve just entered a homey pub somewhere in the middle of Ireland. The wind is howling just outside the door, and the pub is a welcoming shelter, well worn, softly lit, a warm glowing fire in the corner. The set and lighting designers (Charlie Corcoran and Michael Gottlieb respectively) have accomplished a remarkably strong emotional energy as well as a beautifully designed stage. I was pulled in by the magic of the place at once.
IN MEMORY
Reviewed by Martin Denton (May 22, 2013)
A young woman is in a hospital in a coma following a serious accident. As a nurse watches over her, beckoning her back to consciousness, and an estranged step-brother and step-sister (her only living relatives) bicker and fret, what does this young woman—Deon is her name—experience? That's one of the questions that Kimberly Pau's intriguing new play In Memory contemplates.
THE BALCONY
Reviewed by PJ Grisar (May 19, 2013)
Jean Genet’s The Balcony, now playing at the Access Theatre, has always
been a play with a lot to say. The 1957 satire is part polemic and part love
letter to all our pet perversions and the masks we put on. It spins an
enchanting web of illusion while stripping down the fallacies of political
posturing, celebrity, and the puppets and props of state and romantic
revolutions. Like much of Genet’s work, The Balcony is a play about
pretense and the nature of theatrics and role-playing—it’s worth noting that
many of his plays were cast untraditionally (The Maids for example, was
first performed with a pool of male prisoner-actors presenting women in one of
the author's many stays in the clink). The Horizon Theatre Rep’s production has
a decidedly more narrow and unambiguous focus than is the fashion for the piece,
touching less on the broader themes of affect and being-other and more on the
anxiety of a real-world Europe on the brink of economic and political collapse.
This context is markedly different from Genet’s time where the threats to Europe
and his native France were largely non-domestic but the concept holds water,
even when the execution doesn’t.
