In Two New Works, the Power of Generational Connections

Adam Gwon's new musical, 'All the World's a Stage,' is an unassuming, 100-minute marvel that follows a closeted math teacher at a rural high school in the 1990s. Like some of that decade's gay-themed indie movies, including the earnest 'Edge of Seventeen' and 'Trick,' this musical is not looking to reinvent the wheel with its storytelling, but is charming, specific and appealing in its rendering of gay life outside the mainstream.
Ricky (Matt Rodin), a 30-something teacher with a new job, befriends a kind secretary, Dede (Elizabeth Stanley), and meets Sam (Eliza Pagelle), a rebellious student in whom he finds a kindred love of theater and simmering need to break free from societal expectations. They bond over 'Angels in America,' the new risqué play and the source of her monologue for an acting scholarship audition. But her selection threatens the school administration's conservative sensibilities.
At the same time, Ricky is striking up a romance with Michael (Jon-Michael Reese), the owner of a gay-friendly bookstore in a slightly more progressive town where he's settled down. When Ricky's two worlds inevitably collide, they do so with well-crafted wit.
Gwon's yearning, pop-classical score flows together beautifully, yet is composed of numbers distinct enough to allow the four excellent cast members to flex their skills. That balance between individuality and unity proves a key theme, expressed in the title's idea that each of us is always adapting our performance across circumstances. (He also has fun with some clever lyrics, at one point setting up 'hara-kiri' to seemingly rhyme with 'Shakespearean.')
The director Jonathan Silverstein draws warm portrayals from his troupe (matched by a quartet playing onstage) in his modest, efficiently staged Keen Company production at Theater Row.
Jennifer Paar's costumes are instantly evocative; button-up shirts and wire-frame glasses for the teacher and bomber jackets for his pupil. Patrick McCollum's movement work is gently expressive and Steven Kemp's scenic design is similarly to-the-point, with a bookcase or chalkboard rolled in as needed, a lone student desk and an American flag hanging ominously in the corner.
Gwon locates in each of his archetypal characters a unifying love of art. Whether it's Dede's penchant for schmaltz like 'The Notebook,' or the radical zines Michael sells, they all seek escape through culture. This disarmingly powerful show aims for the same, and lovingly succeeds.
At the Bushwick Starr in Brooklyn, Shayok Misha Chowdhury is engaging in his own generational classroom performance in 'Rheology.' Chowdhury, a writer and director whose 2023 play 'Public Obscenities' wove together academia and deep sentiment, this time enlists his mother, the physicist Bulbul Chakraborty, for a theatrical take on exposure therapy. The short, presentational piece in which they both star is clear in its ambitions: Chowdhury cannot bear the thought of losing his mother, so decides to see what staging her death might feel like.
How this all unfolds is its own delight, with a lively structure that's a mishmash of scientific lectures, traditionally staged scenes and meditations on how the two have grown closer by seeing each other passionately pursue their work. Mother and son have a natural stage presence that prompted me to consider the nature and reality of performance. (When I saw the show, just as I thought it was all too heady, an audience member ran out crying during a frank discussion of parent mortality.)
As in 'Public Obscenities,' Chowdhury plays with form and language. The show is performed in English and Bangla, and uses supertitles, live camera feeds, singing, and a cello accompaniment, by George Crotty, reminiscent of the melodrama in both Bollywood and in Bernard Herrmann's film scores. Krit Robinson's lablike set, Mextly Couzin and Masha Tsimring's lighting, Tei Blow's sound and Kameron Neal's video designs shine in a surreal moment toward the end.
Like his earlier works, 'Rheology,' named after the study of the flow behavior of substances, combines Chowdhury's Bengali heritage and knack for rigor (his father, too, was a scientist) with his own artsier, more American tastes. For a promising artist in New York theater, it feels like a special new intervention in the sandbox he's claimed for his exploration.

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