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His Majesty the Devil, featuring Arnaud Ghillebaert, Macintyre Dixon and Colin Pip Dixon
The Father of Lies, Leviathan, Lucifer and The Old Enemy — these are names for the personification of evil in our Western, Judeo-Christian tradition. Lucifer (literally “light bearer,” a metaphor for “the morning star” that appears in Isaiah 14:12) refers to the demigod’s former status as the deity’s second in command before the elevation of Jesus. Leviathan is the “coiled serpent” of Isaiah 27 and Job 41: “Any hope of subduing him is false; the mere sight of him is overpowering.” Advocate (in the sense of lawyer), accuser and prosecutor are translations of הַשָּׂטָן, the creature that appears in Job to tempt the eponymous hero to disavow his faith in God. This manifestation of Satan tempts the Young Man in Alexandra Devon’s play His Majesty, the Devil playing at 59E59 Theaters as part of their East to Edinburgh festival.
Josh Evans as Eli and JD Taylor as Walter in Rubber Ducks and Sunsets (photo, Randy Morrison)
Al is dead. His survivors — his boyfriend, his best girl friend, his best guy friend and his sister — are bereaved. They feel life without Al is no life at all. They grieve, and their grief is a sickness that longs for Al’s state of perfection, a perfection they can never achieve.
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“Final Defenders”: Nicole Lee Aiossa, Melissa Delancey, Lindsey Carter, Rachel Grundy, Adam Files, Tom O’connor, Amy Overman, David Hicks (photo by justin plowman)
By Samuel McCarthy
Sitting inside the furnace-like Brick theatre in Brooklyn’s uber-hip Williamsburg neighborhood, you’re watching a Victorian child, an 80s airhead, a tough 50s chick and a 2013 social outcast battling for the fate of a galaxy (“not the universe,” we are reminded) against an evil space queen named for a Super Mario character. Suffice it to say, Final Defenders is no humdrum production. Performed as part of The Brick’s Game Play festival – showcasing a series of plays based on video game culture – Patrick Storck’s satire/slapstick/sly-winking comedy provides as much nostalgia as hilarity, although it has both in abundance.
Anika Larsen and Eve Plumb as niece and aunt sharing a glass of prosecco
Can a house be evil? In Unbroken Circle the house where three generations of a poor, Texas family live appears to be the repository of and monument to an enduring evil. The house is in Galveston, and the time is 1970. Recently, the owner of the house died leaving a wife, sister-in-law, son, daughter-in-law and two granddaughters behind. After his funeral, the survivors gather in the house to divide his possessions and honor his memory with as much duty as they can muster, which isn’t much because Grandpa Travis was an evil, evil man.
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