The sound of an actor’s footsteps on a stage. The dicey thing about putting theater online is how easy it is to, accidentally, make it seem like something else: a panel discussion on Zoom, maybe, or a not-great video. But Caridad Svich’s spare and immediate new drama, “The Book of Magdalene,” feels every inch a play, those footfalls included — even before a giant cicada puppet makes a fabulous cameo. Fluidly shot onstage at Main Street Theater in Houston, Amelia Rico’s meticulous production triggers sense memories of watching fresh work up close in small spaces, where the ingenuity of unfamiliar artists can surprise you. The fact that the performance is recorded rather than live feels right, in a way, because this is a story set in disconnected times, where touch is not allowed.

Source: New York Times February 15, 2021 19:18 UTC