The God of Hell reviewed in The Birmingham News

by Alec Harvey
The Birmingham News
July 19, 2008 

“The God of Hell”
City Equity Theatre
Through July 27
Review: four out of five stars

In its first three seasons, Birmingham’s City Equity Theatre has proven at least two things.

First, the troupe isn’t going to take the easy way out, opting for literate, challenging work rather than sure-fire box-office winners.

And second, they’re always going to do it with a high degree of quality.

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Seeing ‘The God of Hell’

Birmingham Weekly July 17, 2008
Cover Story
by Glenny Brock

City Equity Theatre takes the next step

In the oh-so-Oklahoma atmosphere that has comprised Birmingham’s theatre scene during so much of recent memory, a minor Sam Shepard play is a major event. But the playwright’s cultural standing isn’t really what makes the City Equity Theatre production of The God of Hell noteworthy so much as the radioactive politics that permeate the script.

The show, which opens Thursday, July 17, at the Alabama School of Fine Arts, is the second Shepard outing for the company this summer, a follow-up to last month’s True West. No doubt the company’s founding directors, Jonathan Fuller and Alan Gardner, were conscious of the powerful, one-two punch effect these back-to-back productions would have. True West was an admirable warm-up. The God of Hell, under the direction of Marlene Johnson, is a clear triumph.

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Luck of the Irish? Director, actors rely on skill, smarts in ‘Inishmaan’

Crew succeeds in unique comedy

By Mary Colurso
Birmingham News staff writer
May 21, 2007

“The Cripple of Inishmaan”
Presented by City Equity Theatre
Through June 3
Alabama School of Fine Arts
4 out of 5 stars

Two distinct types of comedy run through “The Cripple of Inishmaan,” a 1997 play by Martin McDonagh, performed here by City Equity Theatre.

First we have the traditional twinkle of a folk tale set in the Aran Islands, off the coast of Ireland.

But don’t go expecting leprechauns or a hidden pot of gold.  There’s a streak of gallows humor underlying McDonagh’s plot, darkening the storyline and rendering any joy bittersweet.

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