Metropolitan Ensemble "Pride's Crossing" review by Robert Trussell
Theater is all about make-believe, and any show — from William
Shakespeare to Neil Simon — asks viewers to suspend their disbelief the
moment they take their seats. In the case of the Metropolitan Ensemble Theatre’s uneven
production of “Pride's Crossing,” an interesting but flawed play by Tina
Howe, viewers are asked to do so repeatedly during two acts of
leap-frogging time shifts and bizarre casting choices in which some
female roles are played by men for no comprehensible reason.