Capital Fringe 2014 Review: ‘Porch’
What a pleasure to happen upon this gem of a show. Featuring three exceptionally truthful and touching performances on a plain platform with next-to-no production values and working with an exceptional score, Porch plays like the sort of unembellished, deeply felt chamber music that even as its emotional undertones crescendo makes anything orchestral seem overstated and overmuch. Just the perfect piece for Fringe, as Producer and Director Aly B. Ettman must have supposed..
by Jennifer Clement
A glimpse at the Peter’s Alley Theatre website suggests that small, emotionally-loaded relationship plays are the company’s specialty: To Gillian on Her 37th Birthday, Proof… incidentally both, like this show, set on the porch of a house. But hey, everyone has to have a niche, right? This production of Porch by Jeffrey Sweet–a funny, charming, and heartfelt little play–demonstrates the company’s aptitude with this type of work, and is worth checking out at this year’s Fringe.
Stop Kiss’ at Peter’s Alley Theatre Productions
by Amanda Gunther
All it takes is one kiss; a moment that can forever change your life for better or for worse. Peter’s Alley Theatre Productions starts off their season with a very poignant and moving drama that delivers a powerful message even in today’s progressive society. Directed by Aly B. Ettman, Diana Son’s Stop Kiss is a deeply passionate drama about acceptance, self-discovery, and coping with life in the face of adversity. Ettman, along with an extremely talented cast, takes this well-known production and plucks out the finer nuances of Son’s writing, exposing brilliant moments of raw humanity to the audience.
by Sarah Ameigh
When Diana Son’s Stop Kiss premiered at New York City’s Public Theatre in November of 1998, the questions caused by the tragic death of Matthew Shepard still hung in the air. Words like “hate crime” and “homophobia,” though much a part of the American experience, had only begun to fall on to the ears of the wider American public.
I distinctly remember hearing Matthew’s story on the news, just an 11-year-old kid in rural Maine, playing Legos on a hardwood floor and wondering how anyone could be so mean. “Mean:” a soft word for cruel. And though my vocabulary was as lacking as the American public’s, inside I was aware of a very simple truth that has since been the battle cry for the LGBT civil rights movement of the 21st century: love is love.
Stop Kiss, directed by Aly B. Ettman, wades through the politics and prejudice to make that simple but elegant statement.
Alyssa Sanders as Sara and Rebecca Ellis as Callie (Photo courtesy of Peter’s Alley Productions)
‘Proof’ at Peter’s Alley Theatre Productions
by Amanda Gunther
In searching for answers one must always be able to prove that the answers they have found are true. A deeply profound tale of how life must always keep going until it stops completely is what comes to the stage as Peter’s Alley Theatre Productions presents Proof by David Auburn as the second show of their inaugural season.
A solid Proof from Peter’s Alley
by Tim Treanor
Peter’s Alley Theatre Productions, in its current production of Proof, tests the following theorem: let x = one of the thirty best English-language plays of the last twenty years and let y = a bold new approach, utilizing excellent actors. Does x factored by y yield a fresh, revitalized version of Proof?
The results of the experiment I saw Saturday night is an unqualified yes. At Peter’s Alley, we are seeing a celebration of obsession, held by three people who share that obsession against an uncomprehending world. It is a recognition that intellectual accomplishment, that knowing, is better than heroin, and more addicting. It is a Proof for thinkers.
‘Proof’ by Peter’s Alley Theatre Productions at Theatre on the Run
by Andrew White
Since at least the publication of Sylvia Nasar’s unofficial biography of Nobel Economist John Nash, A Beautiful Mind (and the film it inspired, starring Russell Crowe), mathematical genius and madness have been yoked together in the popular imagination. A few years before Nasar, Tom Stoppard’s play Arcadia used unique form of time-travel and synchronicity to explore—among other things—the challenges traditionally faced by women who engage in what remains a stereotypically male field.
David Auburn’s Proof skillfully combines these themes, albeit with a more amiable “Mad Maths” professor and a more volatile but still mathematically-inclined daughter. Peter’s Alley Theatre Productions has created a wonderfully personal, intimate staging of Auburn’s play in Arlington’s Theatre on the Run, well worth the twists and turns you have to take to get there.