From editor Stephanie Barna:

[image-1]I got to see Mike Daisey’s Monopoly! last night. A great show. I love this guy. I saw him last year, and I think I liked this year’s monologue even better. Monopoly interweaves a whole host of stories — Tesla and Edison, WalMart, Monopoly, Microsoft — in a way that makes perfect sense. My favorite segment is the story of the guy whose job it is to tell Bill Gates’ what’s wrong with Office! Ha. Daisey bemoans: Microsoft Word is like a really intrusive girlfriend. ‘Are you sure you spelled that right? Do you want to make a list?…. and wonders why it can’t just behave like an “electric typewriter.” Funny, poignant, and well worth the price of admission. Jennifer Corley’s review should be along soon….

There’s also a handful of other reviews that have rolled in this morning:

Holly Burns caught Wreckage-O-Rama at American Theater and had this to say: “When you’re 9, it probably is hilarious. Funny accents, silly wigs, crazy dancing, clumsy pratfalls — it’s the stuff fourth grade dreams are made of. All that’s missing, in fact, are a couple of fart jokes. But for a pair of adults grabbing a glass of wineacross the road before enjoying a grown-up evening out? Well, Wreckage-o-Rama is certainly not the ticket. But then again, it doesn’t claim to be.”


Eliza Ingle on last night’s Bill T. Jones’ controversial Blind Date “The work is heavy with meaning presenting a lot to digest both mentally and visually, but the there is no doubt about it that it works as a production whether you like the message or not. The thread of Jones’ themes is strong throughout, and even with the barrage of images, screens, text, throat singing, and a ridiculous duck head, there is no shortage of brilliantly crafted dance sequences and potent theatrical performances.” There’s only one more performance left, so get your tickets.

And Eliza Ingle on Piccolo’s stomptastic offering Buckets & Tap Shoes: “The show of percussion-filled jams from feet to instruments is relaxed with easy, almost improvisational transitions. The choreography and execution not only as dancers but as musicians is impressive. Their personalities come out in the tap solos and duets, but they are at their strongest in the ensemble work. They use humor and wit and engage each other and the audience with their dancing, which is filled with foot work at breakneck speed. Percussion pours through them, and the rhythms of hip-hop, rock, and r&b spin through the air.”

The full reviews should be posted to our website soon… I’ll provide links when they’re available.


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