The Magic Theatre, which recently just mounted two legacy revivals of plays that were produced at the Magic early on in their respective lives (Sam Shepard’s Fool for Love and Paula Vogel’s The Baltimore Waltz), has returned to their original mission of producing world premieres with Han Ong’s new play Grandeur, about the life of Gil Scott-Heron, the spoken word poet who is generally considered to be, along with Coke La Rock, the very first rap artist. While the play is a rarefied experience and formally almost diametrically opposed to rap music, there’s no doubt that Grandeur is the first draft of a major American drama, and while it doesn’t appear to be finished in its current production, it still shows enough sparks of genius to be absolutely worth a trek to the Marina District in San Francisco to see it.
Review: “The Baltimore Waltz” at Magic Theatre
It’s rare that a play comes along that is as intensely personal as The Baltimore Waltz. Seeing Paula Vogel’s 1992 play is like getting a private window into the author’s soul laid bare. Such autobiographical works can be devastatingly rewarding when done correctly, but also have a tendency to fall apart at the seams if the author lets their emotions get in the way of their dramaturgical instincts. Thankfully, while the edges of The Baltimore Waltz are slightly frayed, the play still amasses to a highly moving evening of theatre. Paula Vogel will get her long overdue Broadway debut later this month with Indecent, but west coast theatergoers are also given a great opportunity to celebrate the always innovative playwright at the Magic Theatre in San Francisco, which is producing a top-notch revival of the play in celebration of the company’s 50th anniversary.
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