Trending Off-Broadway

Water By the Spoonful - photo by Richard Termine

Anyone else notice a few striking similarities between Water by the Spoonful and The Great God PanI know I’m late to the game with these Second Stage and Playwrights Horizons productions, both recently closed, but if they left any impression (and they probably did), you might recall these shared traits:

1. MOSAIC STORYTELLING
Rather than lead their audiences on clear, linear journeys, playwrights Quiara Alegría Hudes (Water) and Amy Herzog (Pan) opted for patchwork approaches. Many of their characters don’t intersect, instead leading concurrent narratives that only reflect each other in not entirely obvious ways. In both plays, this approach added to the texture and scale of the worlds represented, even if it left some theatergoers a little miffed.

2. GREENERY!
Designer Neil Patel (Water) let plants grow rampant over his boxy set, as did Mark Wendland (Pan) for his. (Wendland used photos of plants rather than imitations of the real thing.) In both productions, this jungle/forest feel suggested both beauty and a hint of menace. And that wasn’t all: Both sets also had a segmented, collage-y thing going, a visual representation that “mosaic storytelling.”

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Water by the Spoonful, photo by Richard Termine

Great God Pan Playwrights Horizons

The Great God Pan

3. TONE
Water and Pan shared a style very much in vogue these days, that is, the quiet rhythm of everyday melancholia. And even when the volume turned up, the plays never strayed from this indie-film ethos, all quiet sadness and heartache.
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Of course, in terms of story and theme, these plays were quite different… Addiction and the internet were the stuff of Water, while memory and abuse was Pan’s focus. Still, when two of New York’s most acclaimed playwrights share at least this much, it might be time to pull out… oh yeah… the hashtag:

#trending, #offbroadway, #goodplays… you know what I’m talking about…

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YOU MIGHT ENJOY…
NO MORE FOCACCIA? — Jordan Harrison’s Maple and Vine
DRAMATIC, END OF PLAY SET CHANGE

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Spring Fever

It’s marquee season on Broadway — the moment just before spring shows go into full swing, and freshly postered theaters taunt their half-baked wares to hungry passers-by. Every new show is a potential hit, and this sense of promise makes a theater-lover giddy with ticket-buying anticipation.

What to see first is the real question: “How to Succeed,” starring a wandless Daniel Radcliff? Or “Book of Mormon,” whose workshops were such a smash that reviews might be irrelevant? (As the show’s pervasive ad material frequently reminds us, “Vogue” has already surmised that “Mormon” might be “the funniest musical of all time.”) Then, of course, there’s “Catch Me if You Can,” the new project from the team behind that most rapturous of musical-theater perfections, “Hairspray.” Can they live up to their poppy, Tony-gilded reputation? Let’s hope so!

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