A retired lawyer, and a theater critic of many years’ standing, with over a decade reviewing for BroadwayWorld, Jack Gohn is now writing plays as well as reviewing them. He is a member of the American Theatre Critics Association and the Dramatists Guild. His plays have been produced by Baltimore's Rapid Lemon Productions and Spotlighters Theatre, and he has penned an upcoming production by the Theatrical Mining Company. See www.jackgohn.com.
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About Jack L. B. Gohn
First Show
First show: Comedy of Errors, Toledo, OH 1957. First NYC show (Off-Broadway): The Power and the Glory, Phoenix Theatre 1958.
What did out critic think? The essential attribute of the play, the combative romance of Benedick and Beatrice (Dylan Arredondo and Anna DiGiovanni), is the only truly sacred element of the play.
Dream Hou$e is awash in ideas, about Latinx identity, about generational wealth transfers, about gentrification, about memory versus history, about personal authenticity, about priorities, about the inherent value of things, about the TV biz, etc.
To put the biggest problem in contemporary terms, terms which doubtless occurred to many members of the audience besides just me: Is this a play about Zelensky or is it a play about Putin? You can characterize it as the story of a small army’s gallant victory against a much larger and better-equip
Fires in the Mirror is Anna Deavere Smith's now-classic theatre piece about the Crown Heights, Brooklyn disturbances of 1991, the singular point of which is that it's impossible to know exactly what to think about those events either.
In the oft-repeated words of the character Sandy, sung in a hilarious patter-fest at strategic points in the musical of Tootsie, playing this week only at the Hippodrome, 'I know what's going to happen.
Building on Adrienne Shelly’s sometimes grimly hilarious and frequently heartwarming 2007 movie of the same name, and realized for the musical stage by Broadway’s first all-female creative team in 2016, Waitress has been almost continuously on Broadway, apart from a COVID break which ended when
There can be rational decisions to end one’s own life, but when such decisions are driven by most kinds of depression, which by definition are not rational, no one else, especially no one else touched by it, can make sense of it.
Audiences need each other as much as the performers need audiences; in the aisles we feed off each other's energy, helping each other get the jokes, experience the pathos, and admire the performances.
Given all the slapstick in this staging (jousting with pool noodles, silly sound effects, outrageous costumes, sending a coffin to a sea burial down a playground slide, tossing a babe-in-arms around like a fumbled football), the endless choruses of What Shall We Do with the Drunken Sailor in which t
Turns out Undine doesn't exist in the public records beyond 15 years back because Undine was born Sharona Watkins, and cruelly deserted her folks' lives to reinvent herself with a highfallutin' name and a highfallutin' profession.
While there are four characters in Kill Move Paradise, and they are endowed with names and hints at backstories, their individual identities don't matter much.
Now presented by the Annapolis Shakespeare Company in Patrick Barlow's adaptation (London 2006, Broadway 2010), The 39 Steps is part music hall, part slapstick, part sex comedy, part thriller a?" and requires the skills necessary for each.
If we can climb beyond the foothills of the weird norms of the dramatic universe, we can take in how marvelously has Shakespeare anticipated some issues we must confront today.