Tony Frankel

A TURKEY SANDWICH We are at a greasy spoon sandwich shop whose patrons are truckers making the long haul across Pennsylvania. The owner, Clyde, and her four sandwich makers are all ex-cons. But she’s the boss. While she enters and exits with orders and pick-ups, she humiliates her workers, who put up with her browbeating…

MIND FOR ALL ITS WORTH No one can deny that Brooklyn-based mentalist Vinny DePonto is a master showman. As with all magicians, the true context of any one-man show is not the tricks (and there are some beauties here) but the patter with audience members. At Geffen Playhouse’s smaller theater, the patrons barely have time…

A YEAR IN THE LIFE Jonathan Larson’s Rent is in a musical theater empyrean; indeed, productions are as ubiquitous as the stars in the firmament. The show is about a year in the life of bohemian artists struggling to survive, and if that sounds familiar, Larson based his 1997 work on Puccini’s opera La Bohème,…

MAN’S FAVORITE CAST On Nathan Stuffel’s terrific set of a loading dock behind a hotel, it is 1938 Los Angeles. These are tough times for everyone, but especially the Black employees who must belittle themselves to keep their jobs as cooks, maids, etc. The unscrupulous white boss Avery (Darrell Phillip) is part overseer and carpetbagger…

MIND YOUR PEES AND QUEUES People start revolutions because they want something that authorities are controlling. Jefferson wanted to declare independence. Norma Rae wanted to improve factories. Katniss wanted to feed masses. Bobby Strong in the musical Urinetown — now in a truly smashing production at Long Beach Playhouse — wants to pee for free….

GOLF IS ON COURSE, BUT JUST A BIT UNDER PAR Pittsburgh in 1997 is the setting for the last of renowned playwright August Wilson’s series of 10 dramas that highlight aspects of African-American life in the 20th century. His is a play about gentrification, but a fascinating aspect of the 2005 work remains a rare…