by Michael Meigs
Published on February 28, 2013
Huff's language is so vivid and Ken Bradley's delivery of it is so intense, convincing in rhythm and dialect and so disturbing that one stumbles out of the theatre afterward with images seared into one's imagination.
Keith Huff imagines a dark, dark world for us, and Shanon Weaver's set design mirrors that. This is Chicago in grim weather. The bare stage has only a couple of banged up folding chairs and a table, and the stage walls are painted in vertical strips of greenish blue and black. It could be an interrogation room but really it's a barren nowhere, a place of the mind that one could just as easily imagine …
by Michael Meigs
Published on August 24, 2008
The major problem undermining all that really brilliant, character-revealing dialogue is the series of “gotcha” plot revelations in the concluding minutes.
Okay, we’ve been here before. The small house at the Hyde Park Theatre wraps around a set that could represent an anonymous, nearly vacant apartment in a half-demolished tenement building. Tom Waits is growling “Dead and Lovely” on the sound system in full derelict mode, followed by some country music phantasmagoria about facing the electric chair. Down-market Harold Pinter, maybe, or Sam Shepard. Danger, barren stage and threat.In Brass Ring, playwright Shanon Weaver of “A Chick and A …