It’s not much of a spoiler to note that the Angel in Judgment Day gets the last laugh. In fact, we hear the Angel — also known as Sister Margaret from the lead character’s childhood — laugh at several different points in the new play, the script of which actually instructs the actor to cackle each time.
And with Patti LuPone cast in the role, rest assured you hear a cackle to end all cackles, one sounding almost diabolically possessed. Recorded last summer as a benefit for the Barrington Stage Company in the Berkshires of Western Massachusetts and now streaming in an encore presentation through the Stellar Events platform, the virtual play reading even throws in a few amusing outtakes for good measure.
“Shit! Motherfucker,” LuPone is heard in one blooper, right after her landline phone rings while shooting a split-screen scene with Jason Alexander. With perfect timing, Alexander interjects, “Is that God, Sister?”
In this promising debut play from veteran TV comedy writer/producer Rob Ulins (CBS’s Young Sheldon, Hulu’s Ramy), Alexander portrays corrupt, morally bankrupt lawyer Sammy Campo, who sets out to redeem himself after a terrifying Angel threatens him with eternal damnation during a near-death encounter.
He forms an unlikely bond with a Catholic priest (Santino Fontana), setting the stage for debates over timeless questions about morality, faith, religion, and human behavior. “I wanna figure out the rock-bottom least amount of good I need to do to get into Heaven,” Sammy says early upon meeting the priest, who snaps back, “It doesn’t work that way.”
Judgment Day itself works very well under the deft direction of Matthew Penn, who helps the large cast shine — a virtual roster also including Michael McKean, Justina Machado, Julian Emie Lerner, Loretta Devine, Carol Mansell, Michael Mastro, Josh Jonston, Bianca LaVerne Jones, and Elizabeth Stanley.
The end result is a production with sharp performances adding enough subtle dimension and vitality to almost help it defy reality, often looking and feeling like more than the staged play reading over Zoom it ultimately is.
Judgment Day streams through Aug. 1 on Stellar Events as a benefit for Barrington Stage. Tickets are $11.99. Visit www.StellarTickets.com.
There is still an abundance of great theater remaining in the season, including the absolute showstopper at The Shakespeare Theatre -- Simon Godwin's production of Macbeth starring Ralph Fiennes and Indira Varma. But, let's be honest, all of our area theatres have showstoppers up their sleeves...
Signature lets its hair down. Baltimore Center Stage serves up some fiery wings. Mosaic tells the tale of two Nancys. Folger takes on the Gods. GALA gets into mummified territory. Keegan slams door after door after door. Ford's feeds a very big, bloodthirsty plant. Richmond Triangle Players cavort in Xanadu. And that's just a sampling.
From the moment they slink across the stage, you're hooked and hypnotized, willing to follow them with reckless abandonment to the ends of the earth. That is precisely where the cast of Company XIV will take you in a reinvented version of their long-running hit Queen of Hearts.
Since 2006, creator Austin McCormick has been the engine behind this dance troupe that mixes Victorian-era propriety with the bawdiness and bodies of burlesque. Each show has been an irresistible treat. By now, loyal fans know that delicious visual snacks will be served.
This time, however, McCormick has outdone himself with a grand buffet that is so wonderfully satisfying. It feels like delightful gluttony, and indulgence has never been quite this rewarding.
The Who's rock opera Tommy is back on Broadway, and the result is a high-speed, full-throttle revival that leaves audiences so riveted they need hours to unwind.
Unquestionably, there's been a ton of mileage used for this franchise. After the critically acclaimed album's release in 1969, it went on to become a ballet, an opera, a symphonic version, a motion picture (featuring Elton John and Tina Turner), and several iterations of stage shows, first in 1993 (Broadway and national tour), later in 2013 at the Stratford Shakespeare Festival, and now, back on Broadway after a lauded run at Chicago's Goodman Theatre last year. Why all the hype?
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