Posts Tagged reviews
New York playwright Larry Rinkel has posted a nice review of my short play THE MATH LESSON on the New Play Exchange:
“Skillfully alternating between the perspectives of two girl students and their teacher who is being grilled by her institutional higher-ups, the play creates a parable about climate change by situating the action on Mars. All characters – the stooges at the top of the school’s hierarchy, the teacher who cleverly provokes political conclusions based on irrefutable facts, and the girls caught in the middle – are well-drawn, allowing us to see each one’s point of view while clearly siding with the teacher. (This short play is clearly adapted from Yancey’s exciting full-length “God of a Dead Universe.”
It joins one from another New York playwright, Scott Sickles.
THE MATH LESSON
A math teacher at a Martian school for girls teaches a forbidden subject – how to compute the rate of evaporation of the planet’s last, dying ocean. Cast: Five – one adult female, two non-gender adults, two teen-age girls.
New York playwright Doug DeVita has posted an wonderful review of my play MOON OVER MANITOBA on the New Play Exchange:
“Ah, the innocent ballsiness of youth! It stands the two teen girls in this high-stakes road trip in good stead, and gives us a sometimes charming, sometimes harrowing ride throughout. The relationship between the girls is particularly well-drawn, and draws us into their story effortlessly, leaving us rooting for them all the way. Tense and touching, this is a wonderful script.”
Here’s a previous review of the script.
MOON OVER MANITOBA
A play about immigration, with a cast of two teen-age girls. Veronica is a teenager from Canada, whose father’s job has taken the family to Texas. She’s homesick for Manitoba. She meets Isabella, who turns out to have arrived recently, and illegally, from Honduras after a harrowing trip from Central America. The two girls know no one else and strike up a tentative friendship. When Isabella’s cousin, with whom she’s living, is arrested by immigration agents, Isabella flees to Veronica’s house. Veronica impetuously decides they should run away to Canada, which Veronica is sure will accept Isabella. That’s Act 1. Act 2 is their trip north, which is full of danger and unexpected developments. Cast: Two teenage girls, one Latina.
* Semi-finalist, New American Voices Playwriting Festival, The Landing Theatre, Houston, 2020.
Here’s an updated list of some of the critical feedback I’ve gotten about my work — from critics, directors, and audience members on three different continents.
“I laughed so much I was sore the next day.” That’s what one patron in New Jersey had to say.
“One of the most hilarious shows we’ve done.” That’s from the director at a theatre in Ohio that produced one of my scripts.
“All-around brilliance . . . Dwayne Yancey wrote a genuinely witty and sharp script.” That’s what a theatre critic in Great Britain had to say about one of my shows.
“Blood-curdlingly amazing.” That’s what one critic in Australia had to say of a show I had there.
“Beautifully structured, fascinating, and vaguely dangerous.” That’s how one New York actor described my work.
“To be honest, each time I’d open up a play and see your name attached to it, I’d get excited. You are quite a talent.” That’s what the director of a play festival in Michigan had to say.
“Zombie Christmas was an audience favorite! Your sense of humor is deadly (if I may), and people were laughing out loud at all the right spots.” That’s what the director of a play festival in Illinois had to say about my short Christmas play “A Zombie Christmas.”
“It was heartbreaking . . . I was crying through most of the show. It absolutely is a compliment that I found it heartbreaking . . . People must be carefully guided to open their hearts to new ideas. And I think your scripts do that.” That’s what an audience member in Ohio had to say about one of my dramas.
“So many of the things in this are really wonderful . . . and the audience is laughing . . . This afternoon is our last performance but I just wanted to let you know that I am so happy you wrote such a fun, relatable piece to perform.” That’s what an actress in New Jersey had to say about “Catch of the Day.”
“Loved ‘The Recruiter.’ It was a very thoughtful piece and I’m glad we were able to include it.” That’s what a producer in Houston had to say about one of my short pieces.
“It’s a brilliant script.” That’s what a director in the United Kingdom had to say.
“Your play was my favorite.” That’s what an audience member who saw my work in a 10-minute play festival posted.
“Your piece is stunning.” — producer of “The Cellphones of the Dead” In Washington
“I had multiple people approach me after and say how moved they were by your play.” — producer of “The Cellphones of the Dead” In Washington
“It’s one of the more moving pieces for me”— actor in producer of “The Cellphones of the Dead” In Washington
“The script is funny and endearing and the kids loved it.” — Lauren Hous, director of world premiere of RHONDA’S HIGH-CLASS ROADKILL CHILI in Illinois.
“I heard so many compliments on “Let there be Lights” The audience ate it up! One more weekend of shows to go. Friday and Saturday this week we still have seats but Sunday is filling up again and will most likely sell out again! Thank you for writing such an amazing piece! It has been a blast to direct!” — Director Jeannie Lorimor, Mills Masquers Theatre in Glenwood, Iowa
Here’s a review of my one-man show “Red Moon Rising in The East,” which played at The Playground in Duluth, Minnesota in November 2010.
Oevre magazine in Duluth said:
Chris Nollet takes the stage in this tour-de-force one man show about Sergei Korolev, a virtual unknown in the West. But, we learn through Nollet’s masterful storytelling, that Korolev began the space race with the shot heard ’round the world: the development and launching of Sputnik.
There isn’t a moment to spare on stage in the retelling of Korolev’s precarious and deft handling of not only the Soviet Union’s space program, but also his manipulation of the Soviet power structure to get the money he needed to build his rockets. Through strategic uses of humor, some self-deprecating, which is a pleasing facet of Nollet’s acting talent, Yancey’s script takes life to educate theatre audiences about the strange bedfellows Korolev must entertain, flatter, cajole, and challenge to get what he wants: a rocket powerful enough to get to the Moon.
Odds are, if you’re not a self-avowed space geek like Chris Nollet, you may not have ever heard of this show. You can cross it off your “to-see” list of obscure stage shows now, because Red Moon Rising in the East is required course material in the space race and in a well-done one-man show.
I have photos from the Duluth production here.