Rachel Lynn Brody’s produced theater work includes one-act plays POST (1999 Write To Be Heard Award Winner), PLAYING IT COOL, STUCK UP A TREE, MOUSEWINGS and GREEN BEER AND BAGELS.
She has also written and produced a number of short films. Her writing has appeared in publications including The Buffalo News, The Spectrum, Rogues & Vagabonds, and The British Theatre Guide.
Since 2009, Rachel has also done freelance writing for blogs, catalogs, websites and more.
She holds an MFA Dramatic Writing and a BA in Media Studies (Video Production).
Rachel is currently based in New York City.
Previously, on The One Stop Curiosity Shop
Common Tags#p2 9/11 activism America Apple Apps art blood pressure brains cannibalism Cherry Lane Theater cooking creative writing criticism culture diet dieting documentary drama Facebook feminism film filmmaking food FOX ground zero ground zero mosque health health food heart healthy islam iTouch language lifestyle linguistics low sodium low sodium cooking music negative review networking new plays new writing new york city New York Theater nyc Obama Opinion Photography pizza playwriting politics pop culture positive review Privacy review reviews roommate saturday september 11 social networking sodium television terrorism theater theater reviews theater row theatre tolerance trader joe's tv twitter weight loss West Village world trade center writing
Tag Archives: review
On its last evening at the Richard Shepherd Theater, the New Works 4: International Short Play Festival presented its program without an intermission. A collection of six short works presented as bare-bones stagings presented pieces both amorphous and direct.
In Guide and (The Myth Of) Infinite Progress, an intriguing little double-bill-in-development at Williamsburg’s The Brick theater, Cara Marsh Sheffler and Luke Cissell have begun a journey to accomplish that feat. Their subject? The man whose book, The Emigrants’ Guide to Oregon, was behind the fateful “shortcut” taken by the Donner party in 1846: Lansford Warren Hastings, Esquire. Continue reading
Teeth of the Sons by Joseph Sousa, at the Cherry Lane Theater, examines family and faith from the perspective of two brothers, each vying to be the one regarded as successful by the rest of their family – and in one’s case, his God. Continue reading
THEATER REVIEW: “Bengal Tiger at the Baghdad Zoo,” Aunt Dan, and Searching for Humanity through Theater
During recent visits to the theater, two plays have raised questions about how our society confronts and copes with our basic animal instincts, and the complicity of individuals in destructive acts performed by their societies. They’ve also presented complex existential arguments about the limits of communication and the need to be satisfied by what is, rather than by what one wishes could be. The two plays? Rajiv Joseph’s current Broadway production of Bengal Tiger at the Baghdad Zoo, starring Robin Williams, and Buffalo, NY theater company Torn Space’s production of Wallace Shawn’s Aunt Dan & Lemon. Continue reading
I contrast Danny Boyle’s 127 HOURS with Annie Dorsen’s HELLO HI THERE, and discuss the nature of entertainment in a post-human world. Continue reading
What a fantastic little fable about American politics. In THE BODY POLITIC, writers Richard Abrons and Margarett Perry (the latter of whom also directs this production) have crafted a whip-cracker of a tale about a Republican who falls for a Democrat on the campaign trail. As their relationship – and the campaign – progresses, the young party-liners find themselves negotiating and renegotiating their plans to win the presidency for their candidates. Continue reading
After a weekend spent in the Mid-Hudson Valley sunshine, I headed back into the city Sunday night to check out the Samuel French Off Off Broadway Short Play Festival over at The Lion on Theater Row. While I was, of course, interested in seeing the plays and critiquing the performances, mostly I wanted to find out what it was that the people at Samuel French think made something the best of roughly 1,000 entries. These are people who know their drama, I figured: they’ve been publishing since 1830. At the very least, seeing the plays they chose for inclusion in their yearly publication would be educational. Continue reading