Sharp Critic : Christopher Soden

 

Myron Siegel nervously waits for the straight dope on Carl Dennam’s latest attraction, kept closely under wraps. Seems both their shows overlap, and Myron is afraid of poaching. Family members are on hand, and Myron’s henchman, Little Willie. Myron’s borrowed money (5 figures) from his mother-in-law Sally, and she reminds him constantly. Daisy his niece, is visiting from a very chaste and devout Midwest Catholic community.

Kong’s Night Out uses familiar tropes of stage comedy. Injects them with a shot of verve, ingenuity, and chipper dialogue. It develops the characters and their back stories. They’re familiar, without caricature or stereotype. We don’t see the punchlines headed down Fifth Avenue, and they don’t come with a rimshot. Scenes don’t resolve in the way we expect. Neither does King Kong. It develops the characters and their back stories. They’re familiar, without caricature or stereotype.

There’s Ann Farrow: dishy, intelligent, platinum blonde, kidnapped and rescued and kidnapped again. Sally the raspy, cantankerous mother-in-law, who hides her compassion, really well. Myron the sweet producer who can’t catch a break. Carl the gleeful, equal opportunity schmuck. Daisy the ingenue who may be slow to catch up, but she’s not dense. Her comedy technique is positively acrobatic. Bertrille is the coniving, unfaithful wife. Her butter’s spread on both sides. Sig Higginbottom, the frisky Hungarian financier with the embarassing toupee. Jack Driskel is Ann’s devoted fiance. His generous spirit ignores danger and jeopardy. Little Willie is Myron’s go-to muscle. Pragmatic and personable. By and large the women come off better than the men. (Maybe that’s not so rare in comedy) They’re savvy, convivial, and resourceful.

The best theatre is like the Hubble. The closer you look the more you see. The title set’s the tone. Kong’s Night Out. Dapper yet absurd. Is Kong Equity? Is he invited to the after-party? Does he conceal an air of sophistication? We might be inclined to compare Carl Dennam with Kong, he sports a sharp suit, but who’s the bigger beast? At least Kong has tenderness for Ann Farrow. Carl is contemptuous of everybody. He swats dragonflies. He steals your lunch bag. He doesn’t silence his cellphone. He’s an arrogant misanthrope. He comes after Myron because he’s at the disadvantage. Because he can.

Rachael Lindley has landed this this 50 lb. fish without a care. Has a director ever gotten so much use from a sofa? Or a balcony? Or a powder room? Darlin, how do you do it? Brian Hoffman (Myron) Sue Goodner (Sally) Kendra Young (Daisy) Nathan Beeman (Little Willy) Emily Fry (Bertrille Siegel) Lloyd Webb (Higginbottom) Elise Stuart (Ann Farrow) Christopher Dean (Carl Dennam) Adam Koch (Jack Driskel) tuck into that dizzy energy like monkeys on a sugar bender. Kristin Moore’s costumes from debonair suits to the glamorous gowns bring the posh to the play. Greg Smith’s set design would put the Grand Budapest Hotel to shame.

So what are you waiting for, already?

Richardson Theatre Centre presents Jack Neary’s Kong’s Night Out from June 5th-28th, 2026. 518 W Arapaho Rd, Ste 113, Richardson, TX, 75080. (972) 699 1130

richardsontheatre@gmail.com facebook.com/RichardsonTheatreCenter

Myron Siegel nervously waits for the straight dope on Sig Higginbottom’s latest attraction, kept closely under wraps. Seems both their shows overlap, and Myron is afraid of poaching. Family members are on hand, and Myron’s henchman, Little Willie. Myron’s borrowed money (5 figures) from his mother-in-law Sally, and she reminds him constantly. Daisy his niece, is visiting from a very chaste and devout Midwest Catholic community.

Kong’s Night Out uses familiar tropes of stage comedy. Injects them with a shot of verve, ingenuity, and chipper dialogue. It develops the characters and their back stories. They’re familiar, without caricature or stereotype. We don’t see the punchlines headed down Fifth Avenue, and they don’t come with a rimshot. Scenes don’t resolve in the way we expect. Neither does King Kong. It develops the characters and their back stories. They’re familiar, without caricature or stereotype.

There’s Ann Farrow: dishy, intelligent, platinum blonde, kidnapped and rescued and kidnapped again. Sally the raspy, cantankerous mother-in-law, who hides her compassion, really well. Myron the sweet producer who can’t catch a break. Sig the gleeful, equal opportunity schmuck. Daisy the ingenue who may be slow to catch up, but she’s not dense. Her comedy technique is positively acrobatic. Bertrille Siegel is the conniving, unfaithful wife.  Her bread’s buttered on both sides. Jack Driskel is Ann’s devoted fiance. His generous spirit ignores danger and jeopardy. Little Willie is Myron’s go-to muscle. Pragmatic and personable. By and large the women come off better than the men. (Maybe that’s not so rare in comedy) They’re savvy, convivial, and resourceful.

The best theatre is like the Hubble. The closer you look the more you see. The title sets the tone. Kong’s Night Out. Dapper yet absurd. Is Kong Equity? Is he invited to the after-party? Does he conceal an air of sophistication? We might be inclined to compare Higginbottom with Kong, he sports a sharp suit, but who’s the bigger beast? At least Kong has tenderness for Ann Farrow. Higginbottom is contemptuous of everybody. He swats dragonflies. He steals your lunch bag. He doesn’t silence his cellphone. He’s an arrogant misanthrope. He comes after Myron because he’s at the disadvantage. Because he can.

Rachael Lindley has landed this this 50 lb. fish without a care. Has a director ever gotten so much use from a sofa? Or a balcony? Or a powder room? Darlin, how do you do it? Brian Hoffman (Myron) Sue Goodner (Sally) Kendra Young (Daisy) Nathan Beeman (Little Willy) Emily Fry (Bertrille Siegel) Lloyd Webb (Higginbottom) Elise Stuart (Ann Farrow) Christopher Dean (Carl Dennam) Adam Koch (Jack Driskel) tuck into that dizzy energy like monkeys on a sugar bender. Kristin Moore’s costumes from debonair suits to the glamorous gowns bring the posh to the play. Greg Smith’s set design would put the Grand Budapest Hotel to shame.

So what are you waiting for, already?

Richardson Theatre Centre presents Jack Neary’s Kong’s Night Out from June 5th-28th, 2026. 518 W Arapaho Rd, Ste 113, Richardson, TX, 75080. (972) 699 1130

richardsontheatre@gmail.com facebook.com/RichardsonTheatreCenter

Detective Mark McPherson is sent to solve a murder. A body has been discovered with a mutilated face. From what he infers, the victim is Laura Hunt. In her apartment. He learns details of her past, her interests, her moods. Gazing upon her portrait, he gradually becomes infatuated, perhaps intoxicated. The men in her life, mostly Platonic, are Danny, who listens to jazz records with her, Waldo, her erudite and droll critic, and Shelby her possible fiance. Each feels a strong emotional tie to Laura. Subsequently, each is a possible suspect.

I apologize for the spoiler alert, but it turns out Laura is alive after all. She visits her cabin in the woods, for reflection and solitude. She loans her apartment in the city to a friend. Sadly the murderer mistakes her for Laura. When Laura shows up on the QT, McPherson, naturally, is overcome. A love he never thought possible, has turned up. The two spend the night with coffee and conversation. The others start scrambling for alibis.

There are many thing to appreciate in Rover Dramawerks production of Laura, an exercise in Noir. Noir evokes a chill worldview: cynicism, brusque and clever dialogue, ruthless motives, an undercurrent of despair. An uneasy balance to be sure. Rover has taken these ingredients and combined them with ingenuity and imagination. The setting suggests understated opulence but also detachment. The script includes a lot of colloquialisms from back in the day, and the actors quite comfortable with the lingo. (I recognized some slang from O’Neill.) The acting is subdued, with an edge. It’s difficult to pull off this kind of homage without resorting to caricature, but no worries for director Carol M. Rice. It’s as if she built it from the ground up. With aplomb.

Rover has assembled a time machine to New York back in the 1940’s. The lonely lives of characters and intense attraction, The disappointment and suspicion, and coldness to keep predators at a distance. Written by Vera Caspary and George Sklar, this is a somber rumination on the struggle for genuine contact. Carol M. Rice, the cast and crew have tapped into this lightning in a bottle.

Rover Dramawerks presents Laura, playing June 4th-20th, 2026. Cox Playhouse, 1517 H Avenue, Plano, Texas 75074. 972-349-0358 www.roverdramawerks.com

Detective Mark McPherson is sent to solve a murder. A body has been discovered with a mutilated face. From what he infers, the victim is Laura Hunt. In her apartment. He learns details of her past, her interests, her moods. Gazing upon her portrait, he gradually becomes infatuated, perhaps intoxicated. The men in her life, mostly Platonic, are Donnie, who listens to jazz records with her, Waldo, her erudite and droll critic, and Shelby her possible fiance. Each feels a strong emotional tie to Laura. Subsequently, each is a possible suspect.

I apologize for the spoiler alert, but it turns out Laura is alive after all. She visits her cabin in the woods, for reflection and solitude. She loans her apartment in the city to a friend. Sadly the murderer, mistakes her for Laura. When Laura shows up on the QT, McPherson, naturally, is overcome. A love he never thought possible, has turned up. The two spend the night with coffee and conversation. The others start scrambling for alibis.

There are many thing to appreciate in Rover Dramawerks production of Laura, an exercise in Noir. Noir evokes a chill worldview: cynicism, brusque and clever dialogue, ruthless motives, an undercurrent of despair. An uneasy balance to be sure. Rover has taken these ingredients and combined them with ingenuity and imagination. The setting suggests understated opulence but also detachment. The script includes a lot of colloquialisms from back in the day, and the actors quite comfortable with the lingo. (I recognized some slang from O’Neill.) The acting is subdued, with an edge. It’s difficult to pull off this kind of homage without resorting to caricature, but no worries for director Carol Rice. It’s as if she built it from the ground up. With aplomb.

Rover has assembled a time machine to New York back in the 1940’s. The lonely lives of characters and intense attraction, The disappointment and suspicion, and coldness to keep predators at a distance. Written by Jay Dratler, Samuel Hoffenstein, and Betty Reinhardt this is a somber rumination on the struggle for genuine contact. Carol Rice, the cast and crew have tapped into this lightning in a bottle.

Rover Dramawerks presents Laura, playing June 4th-20th, 2026. Cox Playhouse, 1517 H Avenue, Plano, Texas 75074. 972-349-0358. www.roverdramawerks.com

Deloris Van Cartier is a chanteuse at a disco nightclub where she keeps company with her friends. She is dating a married gangster named Vince La Rocco. He gives her a hideous blue jacket for Christmas. When she seeks him out to return it, she accidentally witnesses a murder. Fortunately, she’s able to escape his thugs, and seek help from the police. This will be no walk in the park, as La Rocco has eyes everywhere. They come up with the hot idea to hide her at St. Katharine’s Convent. Deloris is pretty snazzy with a lot of charming personality. Who would think to find her in a nunnery?

Perhaps the same question pondered by Reverend Mother. In all fairness, Deloris isn’t onboard, either. It just doesn’t seem like a good fit. But eventually Reverend Mother sees the wisdom in this ruse, and the money offered by the cops doesn’t hurt. Will Deloris rock the boat of religious observation? Deloris being Deloris isn’t defiant, she just has a knack for joie de vivre. These events bring out a tenderness in her we have haven’t seen before. She breaks through the weariness and monotony. When Reverend Mother orders Deloris to conduct the choir, the sisters find themselves gobsmacked and delighted.

Firehouse Theatre’s production of Sister Act is pitch perfect. The choreography is nimble and light. The singing confident and agile. The dialogue pointed and carefully timed. The cast overflows with gusto and panache. Not once have I caught a musical at Firehouse Theatre that was disappointing. Everyone professional, competent, and dedicated. The show closes this weekend, so don’t miss this riotous, rambunctious ride.

Firehouse Theatre presents Sister Act playing May 29-31st, 2026. 2535 Valley View Ln, Farmers Branch, TX, 75234. thefirehousetheatre.com (972) 620-3747

 

Donny owns a pawn shop, Bobby is his apprentice and Teach is the toxic alpha. They hang out at the pawn shop, play cards and chill. Donny’s taken Bobby under his wing, giving him errands, instruction, some watch and learn. Teach is lean and steaming, angry but chill. He’s not as kind-hearted as Donny, but not a total beast.

When Teach arrives Donny says he sold an Indian Head Nickel to some posh guy for nearly a hundred dollars. They’re stunned there are coins so precious they can net five figures. They’ve discovered he lives close by, and most likely has a cache of others. They plot to burglarize his house, and enlist Fletcher’s help, over the phone. Bobby is kept in the dark. They want to include him, but its past his pay grade.

Playwright David Mamet evokes American values at the very core. An antiquated coin depicting a Native American and a buffalo fetches a huge sum of money because it’s rare. America began with the Indigenous, who subsisted on buffaloes with gratitude and honor. How far have we dropped since then? When the burglary implodes, Teach and Donny  turn on Bobby. Teach melts down. He goes on a rampage. Our respect is torn to pieces.

In American Buffalo there is a code of street cred, masculinity, respect between men. Donny is the moral compass, Teach the loose wire, Bobby the student. Each expresses manhood in his own way: Donny’s paternal, Bobby’s deferential and Teach has his dukes up. He cleaves hard to his manhood, sometimes nearly clownish. His soft side at war with his warrior. He’s barely contained.

The Classics Theatre Project’s production of American Buffalo would have us fucking with a black grizzly. A fair amount of humor throughout until distrust and rage ignite. TCPT holds tight to Mamet’s jaundice and imperative. You feel that ferocity lurking in the pit of your stomach. We are in participating in something harrowing, something desperate,something deeply sad. TCTP’s American Buffalo is phenomenal, electrifying, and fearless. An adrenaline shot in your Coca-Cola.

The Classics Theatre Project presents David Mamet’s American Buffalo, May 15th-June 20th, 2026. Stone Cottage (adjacent to Addison Water Tower Theatre) 15650 Addison Rd. Addison, TX 75001. (214) 923-3619. tctpdfw@gmail.com. theclassicstheatreproject.com

 

 

Donny owns a pawn shop, Bobby is pretty much his apprentice and Teach is the toxic alpha. They hang out at the pawn shop, play cards and chill. Donny’s taken Bobby under his wing, giving him errands, instruction, some watch and learn. Teach is lean and steaming, angry but chill. He’s not as kind-hearted as Donny, but not a total beast.

When Teach arrives Donny says he sold an Indian Head Nickel to some posh guy for nearly a hundred dollars. They’re stunned there are coins so precious they can net five figures. They’ve discovered he lives close by, and most likely has a cache of others.They plot to burglarize his house, and enlist Fletcher’s help, over the phone. Bobby is kept in the dark. It’s past his pay grade.

Playwright David Mamet is evoking American values at the very core. An antiquated coin depicting a Native American and a buffalo fetches a huge sum of money because it is rare. America began with the Indigenous, who subsisted on buffalos with gratitude and honor. Not a single scrap was wasted. When the possibility of wealth is injected into the chemistry of Bobby, Donny and Teach, they turn on each other. When the plan goes sideways, Teach melts down.

In American Buffalo there’s a code of street cred, masculinity, respect between men. Donny is the moral compass, Teach the loose wire, Bobby the student. Each expresses manhood in his own way: Donny’s paternal, Bobby’s deferential and Teach has his dukes up. He cleaves hard to his manhood, nearly clownish.  His soft side at war with his warrior.

The Classics Theatre Project’s production of American Buffalo would have us fucking with a grizzly. A fair amount of humor throughout until distrust and rage ignite. TCPT holds tight to Mamet’s jaundice and imperative. You feel that ferocity lurking in the pit of your stomach. We are in participating in something harrowing, something desperate,something deeply sad. TCTP’s American Buffalo is phenomenal, electrifying, and fearless. An adrenaline shot in your Coca-Cola.

The Classics Theatre Project presents David Mamet’s American Buffalo, May 15th-June 20th, 2026. Stone Cottage (adjacent to Addison Water Tower Theatre) 15650 Addison Rd. Addison, TX 75001. (214) 923-3619. tctpdfw@gmail.com. theclassicstheatreproject.com

 

 

Donny owns a pawn shop, Bobby is pretty much his apprentice and Teach is the toxic alpha. They hang out at the pawn shop, play cards and chill. Donny’s taken Bobby under his wing, giving him errands, instruction, some watch and learn. Teach is lean and steaming, angry but chill. He’s not as kind-hearted as Donny, but not a total beast.

When Teach arrives Donny says he sold an Indian Head Nickel to some posh guy for nearly a hundred dollars. They’re stunned there are coins so precious they can net five figures. They’ve discovered he lives close by, and most likely has a cache of others. They plot to burglarize his house, and enlist Fletcher’s help, over the phone. Bobby is kept in the dark. They want to include him, but its past his pay grade.

Playwright David Mamet evokes American values at the very core. An antiquated coin depicting a Native American and a buffalo fetches a huge sum of money because it’s rare. America began with the Indigenous, who subsisted on buffaloes with gratitude and honor. How far have we dropped since then? When the burglary implodes, Teach and Donny  turn on Bobby. Teach melts down. He goes on a rampage. Our respect is torn to pieces.

In American Buffalo there is a code of street cred, masculinity, respect between men. Donny is the moral compass, Teach the loose wire, Bobby the student. Each expresses manhood in his own way: Donny’s paternal, Bobby’s deferential and Teach has his dukes up. He cleaves hard to his manhood, sometimes nearly clownish. His soft side at war with his warrior. He’s barely contained.

The Classics Theatre Project’s production of American Buffalo would have us fucking with a black grizzly. A fair amount of humor throughout until distrust and rage ignite. TCPT holds tight to Mamet’s jaundice and imperative. You feel that ferocity lurking in the pit of your stomach. We are in participating in something harrowing, something desperate,something deeply sad. TCTP’s American Buffalo is phenomenal, electrifying, and fearless. An adrenaline shot in your Coca-Cola.

The Classics Theatre Project presents David Mamet’s American Buffalo, May 15th-June 20th, 2026. Stone Cottage (adjacent to Addison Water Tower Theatre) 15650 Addison Rd. Addison, TX 75001. (214) 923-3619. tctpdfw@gmail.com. theclassicstheatreproject.com

The year is 1965 and Jim Quinn has crossed the radar of Carl Schmitt, the President of an exclusive boy’s school in New Hampshire. Jim is being interviewed and Schmitt is asking about Jim’s colorful past. Jim is frank and forthright, even when his motives seem inexplicable. Even to him. Schmitt is dubious but, when it comes to literature and right-brain thinking Jim’s beyond impressive. He is fully engaged with brilliant authors and seminal philosophers: not at all intimidated.

Jim is a live wire. He writes provocative poetry, punches the younger boys, steals a record collection (more or less a prank). He ruminates with his roommate, Austin, until late at night. None of this is atypical of teenage boys, especially when they get together. Jim is constantly acting out. He impulse control. He sees validity in everything he does. Too rebellious for his own good.  Supposedly his integrity collides with his academics.

Prodigal Son is John Patrick Shanley’s reflection on his contentious personalty and phenomenal cerebral skills. What makes us unique can be a two-edged scalpel. Schmitt and Alan Hoffman Jim’s English teacher) can see his potential, but if his future can be salvaged can be salvaged is an ongoing debate. Like Prometheus, Jim carries the gift of fire, juggling the astonishing with catastrophe.

The Second Chance Players staged Prodigal Son at Kitchen Dog’s new theater on 4774 Algiers. Director Caleb Ross and his intrepid cast: Jacob Waters (Jim Quinn) Hunter Howard (Alan Hoffman) Jeffrey Miller (Carl Schmitt) Stephanie Stark (Louise Schmitt) Patrick Britton (Austin Schmitt) mounted this somber, wrenching drama about what will and will not be forgotten. I’m pretty sure Socrates was into Ding Dong Ditch. The performances here are understated with a minimum of histrionics. Caleb Ross carried this dream project with him for a very long time. The result is poignant and unforgettable.

Watch this space for Second Chance Players future productions.

Second Chance Players presented Prodigal Son. It closed on Sunday May 10th.

Info@SecondChancePlayers.org

www.SecondChancePlayers.org

 

 

The year is 1965 and Jim Quinn has crossed the radar of Carl Schmitt, the President of an exclusive boy’s school in New Hampshire. Jim is being interviewed and Schmitt is asking about Jim’s colorful past. Jim is frank and forthright, even when his motives seem inexplicable, even to him. Schmitt is dubious but, when it comes to writing, literature and right-brain thinking Jim’s beyond impressive. He is fully engaged with brilliant authors and seminal philosophers, not at all intimidated.

Jim is a live wire. He writes provocative poetry, punches the younger boys, steals a record collection (more or less as a prank). He shares with his roommate, Austin, until late at night. None of this is atypical of teenage boys, especially when they get together. Jim is constantly acting out. He impulse control. He sees validity in everything he does. Too rebellious for his own good. His integrity collides with his academics.

Prodigal Son is John Patrick Shanley’s reflection on his contentious personalty and phenomenal cerebral skills. What makes us unique cab be a two-edged scalpel. Schmitt and Alan Hoffman Jim’s English teacher) can see his potential, but if his future can be salvaged can be salvaged is an ongoing debate. Like Prometheus, Jim carries the gift of fire, juggling the astonishing with catastrophe.

The Second Chance Players staged Prodigal Son at Kitchen Dog’s new theater on 4774 Algiers. Director Caleb Ross and his intrepid cast: Jacob Waters (Jim Quinn) Hunter Howard (Alan Hoffman) Jeffrey Miller (Carl Schmitt) Stephanie Stark (Louise Schmitt) Patrick Britton (Austin Schmitt) mounted this somber, wrenching drama about what will and will not be forgotten. I’m pretty sure Socrates was into Ding Dong Ditch. The performances here are understated with a minimum of histrionics. Caleb Ross carried this dream project with him for a very long time. The result is poignant and unforgettable.

Watch this space for Second Chance Players future productions.

Second Chance Players presented Prodigal Son. It closed on Sunday May 10th.

Info@SecondChancePlayers.org       www.SecondChancePlayers.org