Stacy Sullivan: A Tribute to Miss Peggy Lee at the Metropolitan Room (Through Saturday April 26, 2014)
Stacy Sullivan: A Tribute to Miss Peggy Lee at the Metropolitan Room (Through Saturday April 26, 2014) Directed by Sondra Lee Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
Any day is a good day when it includes sitting in the iconic Metropolitan Room listening to the equally exemplary Stacy Sullivan and her “Tribute to Miss Peggy Lee.” Ms. Sullivan understands the nature of a tribute as she examines the career of Peggy Lee, knowing who she was and what she was and using that vehicle to take the audience on a transcendent ride through her own reconstructed and re-imagined tour of the musical icon’s songbook.
The music, lyrics, and Ms. Sullivan’s style, phrasing and pure tone transport her audience to another time and place where she “messes with” the material. What makes this performance true star quality is her honesty and devotion along with the courage to explore and create her personal image and execution which is nothing less than magical.
Ms. Sullivan’s unique and refreshing style and phrasing is evident in “Hey There” from “The Pajama Game” (Richard Adler/Jerry Ross) and “Cheek to Cheek” (Irving Berlin). Her sensual and almost sultry tone vibrates through “Till There Was You” from the 1957 “The Music Man” (Meredith Wilson) and “Where did They Go” (Harry Lloyd/Gloria Sklerov). Honoring Peggy Lee’s decision to “sing softly,” Stacy Sullivan closes her performance with a heartfelt interpretation of “Angels on Your Pillow” (Peggy Lee/Paul Horner) and “Fever” (Eddie Cooley/Otis Blackwell).
During our conversation with Ms. Sullivan after her performance on January 11, 2014, we came to a significant consensus: our urban children and students have the ultimate phrase to define excellence. That short phrase is “All right, now.” Stacy Sullivan’s resplendent tribute to the legendary and courageous Miss Peggy Lee is just that: it’s “All right, now!” Plan to visit the incomparable Metropolitan Room to enjoy this tribute on one of the remaining dates of performance (see below).
STACY SULLIVAN: A TRIBUTE TO MISS PEGGY LEE
Stacy Sullivan appears at The Metropolitan Room on the following schedule: Saturday February 15, 2014 at 7:00 p.m., Friday March 28, 2014 at 7:00 p.m., and Saturday April 26, 2014 at 7:00 p.m. Doors open 45 minutes prior to performances. The Metropolitan Room is located at 34 West 22nd Street in Manhattan. There is a $25.00 per person Music Charge and a Two Drink Minimum. For further information visit http://metropolitanroom.com/
Permalink | Posted by David Roberts on Monday, January 20, 2014
“Miss Lead” at 59E59 Theater B (Through Sunday January 26, 2014)
“Miss Lead” at 59E59 Theater B (Through Sunday January 26, 2014) By Mary Kathryn Nagle Directed by Madeline Sayet Reviewed by David Roberts Theatre Reviews Limited
Any controversy resulting from the atrocities heaped upon the nations of the Original Peoples of North America by the United States and its corrupt and capricious Bureau of Indian Affairs (BIA) is an important and somber discussion. Mary Kathryn Nagle’s “Miss Lead” brings sharp and disturbing focus to the events surrounding the Tri-State Mining District in Joplin, Missouri.
Several American Indian Nations were forcibly removed to this region on various “Trails of Tears” from 1830 onward (Indian Removal Act of 1830). This act of ethnic cleansing is one of the most horrific events in Native American history. The play focuses specifically on the discovery of lead on this land and the processing of the lead for military use. This mining and processing created toxic levels of lead in the soil and the increase in cancer and auto-immune diseases in the residents of the area.
In “Miss Lead” Katie (Tanis Parenteau) is diagnosed with Crohn’s Disease and celiac sprue and it is clear that her diagnosis results from living in Joplin. Her father George (Tyree Giroux) is the current owner of the Tri-State Mining Company and, although the mining of lead in the area ceased, still promotes his family’s legacy and attempts to fend off a fuselage of law suits filed by members of the area’s Native American Nations.
Katie’s story in the present counterpoints the story of miners from the past and Katie’s journey of her acceptance of her important Native Miami heritage. The conflicts in these parallel plots, though clear, often become muddled in the clumsy scene changes and the production overall does not do justice to the material of the script. Too frequently the direction of “Miss Lead” is ponderous and leaves the actors in awkward and sometimes ludicrous exchanges and appearing more like cartoons than authentic characters. The cast does its best to honor the important script but the struggle is unfortunately often without the desired result.
One wishes that Ms. Nagle’s sincere concerns about ethnic cleansing and Superfund Sites might have a more sagacious and thoughtful treatment.
MISS LEAD
AMERINDA Inc. presents the New York premiere of “Miss Lead,” written by Mary Kathryn Nagle and directed by Madeline Sayet.
The cast features Claire Burke, Dylan Carusona, Brett Hecksher, Tyree Giroux, Michelle Honaker, Dawn Jamieson, Stuart Luth, Nancy McDoniel, Tanis Parenteau, and Elizabeth Rolston.
The design team includes Tristan Jeffers (set design); Evan Roby (lighting design); Marty Pavatea (costume design); and Phil Carluzzo (sound design). The Production Stage Manager is Jeremy Duncan Pape. Production photos are by Steve Bartel.
“Miss Lead” runs for a limited engagement through Sunday, January 26. The performance schedule is Tuesday - Thursday at 7:15 PM; Friday - Saturday 8:15 PM; and Sunday at 3:15 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Single tickets are $18 ($12.60 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org. The running time of “Miss Lead” is 2 hours including a 10 minute intermission.
Permalink | Posted by David Roberts on Monday, January 20, 2014
“I Am the Wind” at 59E59 Theater C (Through January 26, 2014)
“I Am the Wind” at 59E59 Theater C (Through January 26, 2014) By Jon Fosse (English Adaptation by Simon Stephens) Directed by Paul Takacs Reviewed by David Roberts Theatre Reviews Limited
“When rain has hung the leaves with tears/I want you near to kill my fears, / To help me to leave all my blues behind. / Ah, but I may as well try and catch the wind.” – Donovan
Billed as the confrontation of the inexorable mystery of fate by two friends spending a day boating, Jon Fosse’s “I Am the Wind,” currently running at 59E59 Theater C is better understood as a brilliant and often disturbing examination of ontology – “the philosophical study of the nature of being, becoming, existence, or reality, as well as the basic categories of being and their relations.”
The protagonists are simply referred to as The One (Christopher Tierney) and The Other (Louis Butelli) and the characters are tropes for not only an Everyman dyad, but the dichotomy present in all human interpersonal and intrapersonal transactions. The One and The Other question the meaning of existence, friendship, happiness then quickly assert that meaning itself is “just something you say –words, words, and more words!” Indeed their Beckett-esque theatre of the absurd dialogue questions the meaning and importance of language itself.
Both The One and The Other rehearse the difficulties of living: they are frightened; they are alone; they are burdened heavily with ennui. And although they play out their anxieties as separate entities, it is clear that these characters might well be the inner life of the human condition. Or what the audience sees and hears might be “just imagined.”
At the beginning of this important new play, The One claims to “be gone now” having “left with the wind.” This same assertion closes the play with The One declaring that he is the wind. It is likely that there is no beginning and no ending to “I Am the Wind” and the ontological discussions throughout, including the ever-present possibility of suicide when one gets too heavy and is barely able to move.
Despite the ageless dialogue – quintessentially portrayed by Christopher Tierney and Louis Butelli – between faith and disbelief, angst and assurance, the dynamic and the static and despite the quest for meaning in language, in imagery, in writing, humankind is ultimately alone and balances precariously between hope and despair. Whether humankind can survive in isolation bereft of “the other” is an experiment still in progress.
Jon Fosse’s “I Am the Wind,” brilliantly and carefully directed by Paul Takacs, successfully engages the audience (often lighted as starkly as the stage itself) in the impossible but necessary task of examining the deep and often absurd recesses of the human condition as we attempt to “head toward the lighthouse” of hopefulness.
I AM THE WIND
The US premiere of “I Am the Wind” is presented at 59E59 Theaters by The Shop, written by Jon Fosse, translated by Simon Stephens, and directed by Paul Takacs.
The cast features Christopher Tierney and Louis Butelli.
The design team includes Steven C. Kemp (set design); Nick Solyom (lighting design); Amanda Shafran (costume design); and Palmer Hefferan (sound design). The Production Stage Manager is Michele Connelly. Production photos are by Cherylynn Tsushima.
The performance schedule is Tuesday – Thursday at 7:30 PM; Friday - Saturday at 8:30 PM; and Sunday at 3:30 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $18 ($12.60 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org. Running time is 60 minutes without an intermission.
Permalink | Posted by David Roberts on Saturday, January 18, 2014
“Devin Bing and the Secret Service Part Deux” at the Metropolitan Room (Through February 28, 2014)
“Devin Bing and the Secret Service Part Deux” at the Metropolitan Room (Through February 28, 2014) Reviewed by Joseph Verlezza Theatre Reviews Limited
On April 7, 2013 Theatre Reviews Limited observed that the engaging Devin Bing was on a journey to success and that it was important for this delightful and talented crooner to decide soon which “road” would be the best choice for him. This review comes after returning to the Metropolitan Room to revisit musical artist Devin Bing to hear his “Secret Service Part Deux” and to observe how Mr. Bing has progressed in his career.
He is still a performer with boundless energy that contagiously infects the audience and finds them nodding, bopping, swaying or tapping to the sometimes hypnotic albeit repetitious rhythms. His musical prowess is most evident in the jazz influenced arrangements he has penned (“Lovin’ You’s So Easy” and “Take Me or Leave Me”) and in his pleasant tenor voice: a versatile vocal instrument duly demonstrated when imitating the sounds of a trumpet during one interlude. Unfortunately his performance is solely concentrated on the sounds, riffs and rhythms he and his accompanying band can produce often disregarding the heartfelt elucidation of the lyric. The lack of emotional investment in the words he is singing, with more bravado than vulnerability, completely distances him from the material. He satisfies the visual and rhythmic senses of the audience with his style, energy, and musicianship but fails to reach their hearts with honest, genuine and purposeful interpretation.
The gracious and talented band “The Secret Service” featuring Gavi Grodsky on guitar, Michael Feinberg on base, Blaise Lanzetta on drums and Mark Bader providing percussion and vocals do a fine job and at times reach mini rock concert temperament. All said “Devin Bing and the Secret Service Part Deux” is an entertaining evening performed by a young talented musician. One can only hope that with more discipline he will settle in, find his direction, listen, learn and aspire to be the potential rising star he could be.
DEVIN BING AND THE SECRET SERVICE PART DEUX
Devin Bing will appear at the Metropolitan Room on Thursday January 30, 2014 at 7:00 p.m. on Friday February 28 at 7:00 p.m. The Metropolitan Room is located at 34 West 22nd Street (between 5th and 6th Avenues) and is easily accessible by public transportation. There is a $20.00 per person Music Charge and a Two Drink Minimum with a $5.00 discount for MAC/Industry Members. For further information visit http://metropolitanroom.com/
Permalink | Posted by David Roberts on Saturday, January 18, 2014
“She is King” at Incubator Arts Project at St. Mark’s in-the-Bowery (Through January 26, 2014)
Laryssa Husiak as Billie Kean King
“She is King” at Incubator Arts Project at St. Mark’s in-the-Bowery (Through January 26, 2014) Conceived and created by Laryssa Husiak Directed by Katherine Brook Reviewed by David Roberts Theatre Reviews Limited
Laryssa Husiak’s “She is King,” currently running at Incubator Arts Project at St. Mark’s in-the-Bowery, is a heartfelt and emotionally compelling tribute to the life and spirit of tennis superstar and innovator Billie Jean King. Ms. Husiak, who also portrays Billie Jean King, provides a sensitive and authentic depiction of the tennis star’s passion for gender equality, the importance of tennis being an open sport, and the importance of an entertainer’s “emotional involvement” with the audience/spectators.
“She is King” includes verbatim accounts of three important interviews in King’s long career: her 1973 interview with James Day (Joshua William Galb), host of a CUNY-TV cable talk show, “Day at Night;” her interview with pop singer Toni Tennille (Louisa Bradshaw); and her interview in 1981 with Barbara Walters (Louisa Bradshaw) after she was outed following her affair with Marilyn Barnett.
In each of these interviews, Ms. Husiak successfully embodies Billie Jean King’s extraordinary dedication to the sport of tennis, the need for strong role models for young players, and the need for changes in the understanding of and the teaching about gender role stereotypes. King’s challenge to James Day to define what it means to be “masculine” and “feminine” belies the depth of sexism and chauvinism in the early 1970s. Day simply does not understand King’s interpretation of “mental toughness” and the importance of concentration.
A group of energetic middle-school “Ball Kids” acts as “run crew” for the production. Of these students, the press release states: “Citing Billie Jean King's own efforts on behalf of equal rights regardless of gender, race, class, age and sexuality, Ms. Husiak sees youth involvement in the production as an opportunity to demonstrate the importance of equality and social justice for all people, and also notes that it was as a pre-teen that Billie Jean King herself first discovered her own passion for tennis.” The students, despite their energy, were sometimes distracting, especially in the final scene when their removal of a somewhat heavy prop interrupted the beginning of Ms. Husiak’s powerful singing of Bob Dylan’s 1967 “I Shall Be Released.”
“She is King” is well worth a visit and seats should be reserved soon for the remained of its short run.
SHE IS KING
“She is King” is presented by Incubator Arts Project as part of the “Other Forces 2014” annual independent theatre festival and is directed by Katherine Brook. Laryssa Husiak portrays Billie Jean King, Louisa Bradshaw plays Barbara Walters and Toni Tennille, and Joshua William Gelb plays James Day and Larry King, Billie Jean's husband. “She is King's sound design is by Chris Giarmo; scenic and lighting design is by Josh Smith.
“She is King” runs on the following performance schedule at St. Mark’s in-the-Bowery, 131 East 10th Street in Manhattan: Jan. 16 at 7 pm; Jan. 18 at 5 pm; Jan. 19 at 5 pm; Jan. 23 at 7 pm; Jan. 24 at 7 pm; Jan. 25 at 5 pm; and Jan. 26 at 5 pm. General admission tickets are $18.00 and can be purchased at https://web.ovationtix.com/trs/pe.c/9860484 Running time is 62 minutes with no intermission.
Permalink | Posted by David Roberts on Thursday, January 16, 2014
Anita Gillette: “After All” at the Metropolitan Room (December 16, 2013)
Anita Gillette: “After All” at the Metropolitan Room (December 16, 2013) Directed by Barry Kleinbort Reviewed by David Roberts Theatre Reviews Limited
When an actor sings, lyrics and music are transformed into a performance of a unique kind. When that actor has appeared in fourteen Broadway shows as well as in film and on television – as Anita Gillette has – the performance is majestic and transformative. For example, when Anita Gillette sings Kander and Ebb’s “Don’t Tell Mama” (from “Cabaret”) or Bob Merrill’s “Mira” (from “Carnival”), her body is firmly planted on the stage of the Metropolitan Room but her spirit is on the stages of the Imperial Theatre, the Broadway Theatre, and the Winter Garden Theatre.
Anita Gillette’s passion for where she has come from and her celebration of the moment is exhilarating and is evident in each song that she styles. Highlights of her performance are “Don’t Tell Mama (John Kander, Fred Ebb); “Mira” (Bob Merrill); “Yesterdays” (Jerome Kern, Otto Harbach with additional lyric by Barry Kleibort); “He May Be Your Man” (Joe Williams); “Did I Ever Really Live”/”I Still Believe in Love” (Albert Hague, Allan Sherman/Marvin Hamlisch, Carole Bayer Sager with additional lyric by Barry Kelinbort).
Ms. Gillette interprets her songbook with the sensitivity and authenticity of a seasoned performer, a performer who is still exploring the meaning of each note, each phrase, and the hidden meaning in each lyric. Her energy is captivating and her voice is magical. Spending tie with Anita Gillette is indeed a confirmation that “Life is Just a Bowl of Cherries” after all. Introduced by Ethel Merman in George White’s 1931 “Scandals,” the lyrics of this memorable song invite the listener to celebrate life’s joy and possibilities: “Life is just a bowl of cherries;/Don't make it serious;/Life's too mysterious.” Thanks to Anita Gillette, the audience embraces all of life’s possibilities and all of life’s mysteries.
“After All” is directed by Barry Kleinbort. Ms. Gillette is accompanied by Steve Doyle on upright bass, Steve Bartosik on drums, and pianist and arranger Paul Greenwood. Mr. Doyle and Mr. Greenwood provided backup vocals.
ANITA GILLETTE: AFTER ALL
Anita Gillette appeared at the Metropolitan Room through Tuesday December 17, 3013. The Metropolitan Room is located at 34 West 22nd Street (between 5th and 6th Avenues) and is easily accessible by public transportation. There is a $25.00 per person Music Charge and a Two Drink Minimum with a $5.00 discount for MAC/Industry Members. For further information on future performances at the Metropolitan Room, visit http://metropolitanroom.com/
Permalink | Posted by David Roberts on Thursday, January 16, 2014
“I Could Say More” at the Hudson Guild Theatre
Playwright, Director and Cast Member Chuck Blasius
“I Could Say More” at the Hudson Guild Theatre Written and Directed by Chuck Blasius Reviewed by David Roberts Theatre Reviews Limited
Billed as a “the tale of a modern family,” “I Could Say More” is primarily the tale of a train wreck of a summer weekend (and a fast forward to its fall conclusion) shared by the newly-married hosts Carl (Chuck Blasius) and Drew (Brett Douglas), their adopted son Jason (Brandon Smalls) and a smorgasbord of family, friends, and their assorted mates. If one defines “modern family” as infidelity, rancor, jealousy, homophobia, and unhappiness incarnate then Mr. Blasius’ new play is about the nature of the modern family. Hopefully, however, the future of the American family is far from what “I Could Say More” attempts to portray.
It is difficult to discern what the playwright was hoping to accomplish in this two-act play. The characters, though clearly defined, are uninteresting (except for Jason the adopted son) and their conflicts and problems are equally banal leaving a thin trail of driven plot. Even the act one discussion of the dead body washed up on the Long Island coast close to the summer rental beach – revisited mysteriously in act two – is pointless. The audience, assuming this to be a streak of interesting foreshadowing is left - like the play itself - with no resolution.
Perhaps most troubling is the main character Carl whose understandings of marriage and parenthood are as appalling as his manners as a host. Carl has been with Drew for fifteen years and their recent marriage certainly has not solidified a caring and committed relationship. Carl is in love with his husband’s drug-addled brother Phil (Grant James Varjas), constantly ignores and belittles his adopted son Jason and treats all of his guests with utter disdain. When one of his guests comments on how well Jason is getting along with her boyfriend Joe, the following dialogue occurs:
LILA: The two of them are really hitting it off. CARL: Who? LILA: Jason and Joe. Maybe you should have a straight man around the house more often. CARL: You didn’t just say that.
There is much more like that. In a discussion with Drew about Dyson’s “grand theft auto” incident (taking a car without permission to visit the Eagle Bar ten miles away), Carl wonders:
CARL: Can you blame him for wanting to get away from all of us? I’d do it myself, but I don’t know where I’d go. PHIL: Oh, haven’t there been enough games? CARL: Ha. Said the emcee.
Indeed there is much game playing in Mr. Blasius’ play and the audience often wonders if there were someplace they could go to get away from all of the play’s characters. The ensemble cast does its best to bring their characters to life and cannot be blamed for whatever has gone wrong. This critic could say more; however, it is enough to say that it is difficult to write, direct, and act in a play and Mr. Blasius’ attempt to do all three in “I Could Say More” is without the success he surely intended.
I COULD SAY MORE
“I Could Say More” is presented by Other Side Productions and is written and directed by Chuck Blasius. The cast includes Chuck Blasius, Frank Delessio, Brett Douglas, Robert Gomes, Kate Hodge, Keith McDermott, Brandon Smalls, Grant James Varjas, and Monique Vukovic.
Scenic design is by Clifton Chadick; lighting design is by Brian Tovar; and sound design is by Roger Anderson. Costumes are by Esther Colt Coats. Katy Moore is stage manager.
Scheduled through February 1, I COULD SAY MORE will perform Mondays, Thursdays, Fridays and Saturdays at 8:00 PM and Sundays at 7:00 PM (No performance Monday, January 20) at the Hudson Guild Theatre, 441 W. 26 St. in Manhattan. Tickets are $18.00 and can be reserved online at www.othersideproductions.org or by phone at 212 352 3101 or also online at www.theatermania.com.
Permalink | Posted by David Roberts on Tuesday, January 14, 2014
"The Surrender" at the Clurman Theatre on Theatre Row
Toni Bentley
THE SURRENDER, stage adaptation of TONI BENTLEY’S erotic memoir receives N.Y.C. premiere in January
The Carol Tambor Theatrical Foundation is thrilled to announce the U.S. premiere of the stage adaptation of Toni Bentley's groundbreaking erotic memoir THE SURRENDER, directed by Zishan Ugurlu and starring Laura Campbell. THE SURRENDER will have its U.S. debut following critically acclaimed productions by the Spanish National Theatre (Centro Dramático Nacional) in Madrid and the Edinburgh Festival Fringe 2013. Performances begin on Wednesday, January 8 for a limited engagement through Sunday, February 2 at The Clurman Theatre on Theatre Row (410 West 42nd Street, between 9th and 10th Avenues). Opening Night is Wednesday, January 15 at 8 PM. The performance schedule is Tuesday through Thursday at 7:00 PM; Friday at 8:00 PM; Saturday at 2:00 and 8:00 PM; and Sunday at 3:00 PM. Tickets are $45 ($31.50 for preview performances from January 8-January 14). For tickets, which go one sale on Friday, December 6 at 12:30 PM, please call Telecharge at 212-239-6200 or visit at www.telecharge.com. For more information, visit www.thesurrendertheplay.com.
Long before Fifty Shades of Grey, former Balanchine dancer Toni Bentley offered readers a sensual glimpse into a taboo erotic experience with her daring memoir THE SURRENDER. After premiering in a production by the Spanish National Theatre in Madrid to great acclaim and a sold-out run and then causing a sensation at the Edinburgh Festival Fringe, THE SURRENDER is stripped bare for the New York City stage.
The story of a woman's sexual obsession, THE SURRENDER tells of a classical ballerina who is seduced into the ultimate act of sexual submission by a sexy stranger. She is overcome and changed forever by his arousing alternative to convention.
Based on Toni Bentley's explicit and controversial erotic memoir, THE SURRENDER is "an extraordinary confession by a woman with an axe, and an ass, to grind" wrote Barry Humphries (aka Dame Edna.) An "eye-wateringly sexy show" (The Stage), THE SURRENDER is the witty, profound, and true story of one woman's experience of erotic transcendence.
Joyce McMillan in The Scotsman praised THE SURRENDER as “A remarkable sustained piece of writing that belongs to the time-honoured tradition of French intellectual erotica, reaching back to De Sade.” Writing in On Stage, Michael Coveney enthused, “A serious play about sex is a rarity, and Kenneth Tynan would surely have applauded this beguiling and seductive adaptation of New York ballerina Toni Bentley’s book.”
TONI BENTLEY was born in Australia, and grew up in England before entering the School of American Ballet at age 10. She was invited to join Balanchine’s New York City Ballet at age 17, and published her first book, “Winter Season,” at age 22. She is the author of five books and numerous articles and essays for such publications as The New York Times, The New York Review of Books, Vanity Fair, and Playboy. “The Surrender, An Erotic Memoir” was named one of the Best 100 Books of the Year by the New York Times and has been published in 18 languages. She is a Guggenheim Fellow. www.tonibentley.com @thetonibentley
ZISHAN UGURLU is a native of Istanbul and came to New York in 1995 at the invitation of Ellen Stewart, founder of La MaMa Theater, where she is now a resident actress and director. She has worked extensively both in New York and abroad. Her directing credits include the solo performances "Oysters, Orgasms, Obituaries" by R. von Waldenburg (Nominated for New York Innovative Theater Award for Outstanding Solo Performance) and “Request Program” by F. X. Kroetz. She recently directed “The Judith of Shimoda” by Brecht, and is currently creating a devised theatre piece with inmates at a maximum security prison in upstate New York based on reentry issues. She is a graduate of Columbia University.
LAURA CAMPBELL was born in Northern Ireland and moved to the United States at age ten. She attended Tulane University in New Orleans where she received her degree in Theatre Studies and International Relations followed by a Masters in Acting from Columbia University where she studied with Kristin Linklater, Andrei Serban, and Anne Bogart. Since graduating she has worked locally and regionally in theaters across the country including productions of “Dinner,” “Dust,” “Taming of the Shrew,” and “The Lion in Winter.” Her latest film release is "Doomsdays" directed by Eddie Mullins. She has done numerous guest star appearances on television including “Law & Order” and “Blue Bloods.” www.lauraecampbell.com
Permalink | Posted by David Roberts on Saturday, January 11, 2014
“What’s It All About?” at the New York Theatre Workshop (Through January 5, 2014)
“What’s It All About?” at the New York Theatre Workshop (Through January 5, 2014) Music by Burt Bacharach Lyrics by Hal David and Others Directed by Steven Hoggett Reviewed by David Roberts Theatre Reviews Limited
When Kyle Riabko finishes his improvised introduction of the band and the origin of “What’s It All About” which he co-conceived with David Lane Seltzer, he glides into his soulful arrangement of “Anyone Who Had A Heart” (Bacharach/Hal David). The audience collectively leans in (Mr. Riabko intentionally makes his audience pay attention) and everyone is immediately aware they are in the realm of re-imagination – somewhere just beyond the iconic Never Neverland. And the journey for the remaining ninety minutes is exhilarating, redemptive, and restorative of spirit.
Kyle Riabko has re-imagined the Bacharach songbook for a new generation and although this re-imagining connects with all generations of Bacharach fans, “What’s It all About” will resonate in a profound way with the Millennial Generation (the Peter Pan Generation). The themes of the Burt Bacharach/Hal David (and other lyricists) songs counterpoint with the mantras of this generation in electrifying ways and those themes are as universal as they are essential for the future of humankind.
Womanizer Alfie’s angst in the 1966 film by the same name generates his existential query, “What’s it all about? Is it just for the moment we live?” And his dubiety results in an important affirmation: “I know there’s something much more/Something even non-believers can believe in.” Alfie’s query and his resolution are at the contrapuntal core of Mr. Riabko’s successful experiment in re-imagining Burt Bachrach for his generation, a generation far too often dismissed as being as self-centered and perpetually pubescent as Alfie.
There is nothing self-centered about Kyle Riabko and his merry band of six co-conspirators in tapping into the imagination of their audience. This is as generous a group of actors and musicians anyone could hope to have assembled. Clothed in their generation’s garb, this brilliant cast invites the audience into their space – the whole front-of–house has been decorated as “the stage” with the same décor on and off the actual playing area. As they wander about, they explore an impressive 28 Bacharach songs (one outside the theatre) and armed only with their Kierkegaard-esque mantra, they manage to assure “those who have ears to hear” that what humankind needs is to be held tight, to be accepted for who they are (“Don’t Make Me Over”), to reach out to others and be open to being reached out to.
Mr. Riabko’s arrangements are as eclectic as they are persuasive. Bacharach’s songs are re-imagined with rock-and-roll, rock, metal, folk, country, and spoken work beats (and more) and reverberate through the New York Theatre Workshop space with an energy that brings salvific light “[into] the darkness in everybody’s life” (Rocky Horror).
Together, Kyle Riabko and director Steven Hoggett manage to not only reimagine the Bacharach songbook; they also reimagine musical theatre in the process. What the world needs at the moment – Kyle Riabko’s reimagining affirms – is both unconditional and non-judgmental love as well as love of the pussycat eyes variety. All that love, freely given and freely received – might not keep the raindrops from falling on heads desperate for affection and renewal of spirit but that love is redemptive and freeing:
“Raindrops keep falling on my head/But that doesn't mean my eyes will soon be turnin' red/ Crying's not for me/ 'Cause I'm never gonna stop the rain by complainin'/ Because I'm free/ Nothing's worrying me.”
It’s all delicious and readers should make reservations to see this remarkable new musical before January 5, 2014. Hopefully, news of the show’s move will be announced before then. Nothing should be worrying Kyle Riabko, Steven Hoggett, and their imposing
WHAT’S IT ALL ABOUT?”
New York Theatre Workshop (NYTW) Artistic Director James C. Nicola presents “What’s It All About? Bacharach Reimagined,” with music by Burt Bacharach; lyrics by Hal David and others; musical arrangements by Kyle Riabko; conceived by Kyle Riabko and David Lane Seltzer; and directed by Steven Hoggett.
The cast of “What’s It All About?” includes Daniel Bailen, Laura Dreyfuss, James Nathan Hopkins, Nathaly Lopez, Kyle Riabko, James Williams, and Daniel Woods.
The scenic design for “What’s It All About?” is by Christine Jones and Brett Banakis; costume design is by Andrea Lauer; lighting design is by Japhy Weideman; sound design is by Clive Goodwin; casting is by Jim Carnahan. The production stage manager is Lindsey Turteltaub; music direction is by Kyle Riabko. Production photos are by Eric Ray Davidson.
“What’s It All About?” plays at New York Theatre Workshop, 79 East 4th Street, between Second Avenue and Bowery. The regular performance schedule is Tuesday and Wednesday at 7:00pm; Thursday and Friday at 8:00pm; Saturday at 3pm and 8pm; Sunday at 2pm and 7pm. There will be a special student matinee on Wednesday, December 18. “What’s It All About?” runs through January 5, 2014. Tickets are $85 and may be purchased online at www.ticketcentral.com, 24 hours a day, seven days a week or by phoning Ticket Central at (212) 279-4200, noon – 8pm daily. For exact dates and times of performance, visit www.nytw.org.
Permalink | Posted by David Roberts on Tuesday, December 10, 2013
“A Gentleman’s Guide to Love and Murder” at the Walter Kerr Theatre (Open Run)
Photo by Joan Marcus
“A Gentleman’s Guide to Love and Murder” at the Walter Kerr Theatre (Open Run) Book and Lyrics by Robert L. Freedman Music and Lyrics by Steven Lutvak Directed by Darko Tresnjak Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
“A Gentleman’s Guide to Love and Murder” is a rollicking romp through the hilarious escapades of Monty Navarro (Bryce Pinkham) as he eagerly disposes of any relative who appears to be an obstacle in his desire to become the heir to the Earl of Highhurst and the D’Ysquith family fortune. It is a sumptuous theatrical feast that serves up seven delectable courses of death and murder, accompanied by two delicious vintage love affairs, with flavors that are complex and combustible. This delectation is presented with wonderful melodic music, clever lyrics and incredibly detailed, lush period costumes by Linda Cho that capture every mood and scene to perfection.
Based on the novel by Roy Horniman, “A Gentleman’s Guide to love and Murder” is an intricate and subtle blend of theatrical styles subsuming an extraordinary amalgam of operetta, farce, quick change magic and pure exceptional good old fashioned musical comedy that is fun and filled with endless laughter. Admirably it is packed with over the top characters that never rely on offensive language or politically incorrect situations or commentary to produce humor, even though there is plenty of perfectly executed innuendo. Deftly directed by Darko Tresnjak, it moves at lightning speed and never misses a beat or an opportunity to extract a laugh from the tightly well crafted script.
The cast is brilliant and ever so generous to the audience and to one other. Bryce Pinkham is inexhaustible, remaining onstage for the entire performance except for a couple of moments to catch his breath. His vocals are delivered with pure controlled tone, precise diction and accompanied by facial expressions that rival the most revered silent movie icons. His interpretation of “Foolish to Think” is wonderful and will help make this song become a Broadway standard for years to come. Jefferson Mays is a wonderment who embodies eight different characters with broad appeal and manages complete costume changes with incredible precision and timing. He is the master of quick change artistry.
Lisa O’Hare commands the stage as the naughty lover Sibella Hallward and creates a devilishly impudent character with a heavenly soprano vocal. Lauren Worsham is a delight as the wholesome, demure fiancé Pheobe D’Ysquith who is as sincere and stable as her fluent and robust vocal quality which enhances every scene she encounters. Jane Carr is exceptional as the stout, caring, lovingly diabolical Miss Shingle. The entire ensemble is more than capable as they mold definitive characters, create scenes that compliment the bedlam, and explode with enthusiasm as they tread upon the magnificent Victorian set designed by Alexander Dodge.
Characterization, stage craft, direction, and song collide throughout the musical but perhaps in a no more memorable way than in “I’ve Decided to Marry You” the delicious dining-room farce scene that emerges from Monty’s memory as he awaits the jury’s determination on his guilt or innocence. In this tantalizing play within a play (all things lovely and murderous are at least once removed from the conscience of the audience), Monty fends off the affections of former flame Sibella (who on all counts is just shy of ‘Isabella’) and current interest Phoebe of the family D’Ysquith. Courting Phoebe in the parlor while fending off Sibella in the boudoir becomes a hilarious ménage a trois with Monty often barricaded in the hallway between the two rooms opening one door then the other to engage his suitors.
It was never a movie; it is not a jukebox musical; and there are no film stars to draw audiences: “A Gentleman’s Guide to Love and Murder” holds its own and is precisely what Broadway needs. Mr. Freedman and Mr. Lutvak have concocted a musical comedy that resonates with a freshness and spontaneity that is imaginative, inventive and will certainly stand the test of time.
A GENTLEMAN’S GUIDE TO LOVE AND MURDER
The cast for “A Gentleman’s Guide to Love and Murder” includes Pamela Bob, Jane Carr, Joanna Glushak, Eddie Korbich, Mark Ledbetter, Jefferson Mays, Lisa O’Hare, Bryce Pinkham, Jennifer Smith, Price Waldman, Catherine Walker, and Lauren Worsham.
The design team for “A Gentleman’s Guide to Love and Murder” includes Alexander Dodge (Scenic Design), Linda Cho (Costume Design), Philip S. Rosenberg (Lighting Design), Dan Moses Schreier (Sound Design), Aaron Rhyne (Projections Design), and Charles LaPointe (Wig Design). Orchestrations are by Jonathan Tunick and Vocal Arrangements are by Dianne Adams McDowell and Steven Lutvak. Paul Staroba serves as Music Director. Production photos are by Joan Marcus.
The performance schedule for “A Gentleman's Guide to Love and Murder” is as follows: Tuesday, October 22 through Friday, November 16 - Tuesdays through Saturdays at 8:00 PM, Wednesdays and Saturdays at 2:00 PM, and Sunday at 3:00 PM. Beginning Tuesday, November 19 - Tuesday and Thursday at 7:00 PM, Wednesday, Friday and Saturday at 8:00 PM, Sunday at 3:00 PM, with 2:00 PM matinees on Wednesday and Saturday. Tickets, priced from $99-$137, are on sale via telecharge.com or by calling (212) 239-6200 / (800) 447-7400. Tickets are also available for purchase in person at the Walter Kerr Box Office (219 W. 48th Street). Running time is 2 hours and 20 minutes with a 15 minute intermission.
Permalink | Posted by David Roberts on Tuesday, November 26, 2013
“And Away We Go” at the Pearl Theatre Company (Through December 15)
Micah Stock/Photo by Al Foote III
“And Away We Go” at the Pearl Theatre Company (Through December 15) Written by Terrence McNally Directed by Jack Cummings III Reviewed by David Roberts Theatre Reviews Limited
Terrence McNally’s “And Away We Go,” currently running at The Pearl Theatre Company, has the capacity to shake even the most torpid theatre-goers to tears. In fact, it literally shakes the theatre! The Pearl’s 30th Season world premiere celebrates the endurance of the theatre throughout the ages and consecrates the “spirit” of the theatre that transcends time and space. That spirit has survived all plagues (ancient and modern), all revolutions, all man-made and natural disasters, and all fiscal challenges (local and global). Indeed, all of these challenges have served to strengthen the entity we call the theatre and make it even more resilient and more resplendent. “Away We Go” is pure theatrical brilliance.
During the Prologue, the actors enter one by one. Each respectfully and lovingly kisses the stage, introduces him or herself, and shares most favorite and least favorite role. Each also shares one thing the audience should know before the performance begins. At the Saturday matinee before opening night, Rachel Botchan shares that she just realized she was not wearing the jacket she was supposed to be wearing for her performance. This honesty puts the audience at ease and paves the way for a night of bewitching and beguiling live theatre unlike anything that has been on stage in a very long time.
These six splendid actors portray over thirty characters that, across the ages, have understood and celebrated the “idea of artistic community” and take the audience on a “whirling, imaginative journey through the joys, missteps, anxieties, and triumphs that have faced theatre companies across the ages” (Kate Farrington, PTC Artistic Director). The ensemble cast responds generously to Jack Cummings III’s splendid and inventive direction and unanimously gives rich, authentic, and genuine performances, portraying a cross section of thespians and theatre professionals as they gather backstage to ply their craft and ponder the future of their theatre.
In Athens in 458 B.C.E. at the Theatre of Dionysus, a frustrated actor Dimitris (Sean McNall) blusters backstage about his unfinished mask. In the South Bank of London in 1610 at the Globe Theatre, Richard Burbage’s wife Gretna (Donna Lynne Champlin) struggles to fit into the backstage banter about the business of theatre. At the Royal Theatre of Versailles in 1789, a playwright Christophe Durant (Micah Stock) defends his work against the King’s censor. Leading up to the Bolshevik Revolution in 1896 Moscow, delivery boy Pavel Leshmenev (Micah Stock) whispers words of revolution to the theatre’s anxious cleaning woman Nina Kozlovsky (Donna Lynne Champlin).
Anxiety continues in 1956 at the South Florida Coconut Grove Playhouse. Backstage after a poorly received performance of Samuel Beckett’s “Waiting for Godot,” Lucine Gershwin an irate subscriber (Carol Schultz) decides she needs “to speak for the audience” and complain that the theatre needs to produce plays that “shake their fist at God,” not Godot. This scene morphs into a scene which includes the actors from Athens, England, France, Russia, Florida, and the present converging in one common backstage place. This is an electrifying and emotional scene which leaves few dry eyes in the audience and reminds the audience that theatre has always been “something very special: a safe place for some of the greatest plays ever written – and maybe some that maybe weren’t so great.”
Interwoven is the theme of the survival of the theatre – survival as a concept as well as the survival of theatre companies locally and globally. Mr. McNally’s script grabs at the very heart of the theatre and the collective heart of the audience. At the end of the play, in the present, theatre company executive director Shirley Channing (Carol Schultz) gathers her actors and creative team to hear the important announcement from board member Anne Tedesco-Boyle (Donna Lynne Champlin) that she is donating sufficient money to allow the company to continue its plans for the next season.
Sandra Goldmark’s leviathan set is all about the business of the theatre: it pulls the audience into the theatre’s world of sets, costumes, props, lighting fixtures, and workspaces. Front and center is the ghost light, the same ghost light Archie turns on at the end of the play after Godot understudy Peter (Sean McNell) dies quietly in the midst of friends. Stage manager Gordon calls “House to half, Go. House out, Go. Cue music, Go. Lights up, Go.” The backstage is now empty and all the actors have found their places. “And Away We Go” is a remarkable play that will most likely have a future beyond its current magical run at the very special Pearl Theatre Company. Be sure to see it before December 15th.
AND AWAY WE GO
The cast of “And Away We Go” includes Rachel Botchan, Donna Lynne Champlin, Dominic Cuskern, Sean McNall, Carol Schultz, and Micah Stock.
The creative team includes Sandra Goldmark (Sets), Kathyrn Rohe (Costumes), R. Lee Kennedy (Lighting), Michael Rasbury (Sound), Kate Farrington (Dramaturg) and Lloyd Davis, Jr. (Production Stage Manager). Production photos by Al Foote III.
Performances of “And Away We Go” run through December 15 on the following schedule: Tuesday at 7:00 p.m.; Wednesday, Saturday and Sunday at 2:00 p.m.; and Thursday–Saturday at 8:00 p.m. The Pearl Theatre is located at 555 West 42nd Street in New York City. Tickets are $65 ($35 seniors, $20 student rush, $20 Thursday rush) and can be purchased by visiting pearltheatre.org or calling 212-563-9261. Tuesday Talkbacks with Cast and Crew on Nov. 26 and Dec. 10, post-performance, free with admission. Running time is 1 hour and 40 minutes with no intermission.
Permalink | Posted by David Roberts on Sunday, November 24, 2013
“Witnessed by the World” at 59E59 Theater B (Through December 15)
“Witnessed by the World” at 59E59 Theater B (Through December 15) Written by Ronnie Cohen and Jane Beale Directed by Karen Carpenter Reviewed by David Roberts Theatre Reviews Limited
With thousands of books published about John F. Kennedy, including tomes promulgating a variety of assassination conspiracy theories, it would seem risky to write a script about the events surrounding yet another conspiracy theory. Notwithstanding, Ronnie Cohen and Jane Beale decide to take that risk on the 50th Anniversary of Kennedy’s assassination with their new “Witnessed by the World” currently playing at 59E59 Theater B. It is regrettable to report that their concerted effort does not result in the success they most likely anticipated. The production falls flat on almost every level.
The playwrights’ script seems weak and predictable and Ms. Carpenter’s direction leaves the cast performing on the same emotional level throughout the ninety minute play. The production is further hampered by a set design that often appears more cluttered than sparse and although the “chalk drawing” projections that establish setting provide some interest, they cannot compete with the rest of the set’s deficiencies. And the black-outs between scenes are distracting and unnecessary.
“Witnessed by the World” has a stellar cast. Unfortunately these accomplished actors seem to deliver no more than lackluster performances. They seem not to be engaged with the script or with the inner workings of their characters. Even characters that might have some interesting traits fall flat on stage. For example, the announcement of Jack Ruby’s sister Eileen Kaminsky’s (Lois Markle) untimely death – first to screenwriter Ira Basil (Max Gordon Moore) then to acclaimed reporter Joan Ross (Charlotte Maier) seems to have the same emotional vector as mobster Joe Capano’s (Joe Tapper) offer of coffee to Aaron Spencer (Bob Ari) in his liquor store.
This lack of energy detracts from the impact the play might have with more energetic direction and a more functional set. It is intriguing that those involved in a conspiracy theory fifty years ago might still be interested in covering up their tracks; however, this premise might not provide the most interesting dramatic composition.
WITNESSED BY THE WORLD
The cast includes Bob Ari, Charlotte Maier, Lois Markle, Max Gordon Moore, and Joe Tapper.
The design team includes Libby Stadstad (Scenic Design), Cory Pattak (Lighting Design), Martin T. Lopez (Costume Design), Lindsay Jones (Sound Design), Matthew Haber (Projection Design). The Production Stage Manager is Jana Llynn. Production photos are by Douglas Denoff.
“Witnessed by the World” runs for a limited engagement through Sunday, December 15. The performance schedule is Tuesday – Thursday at 7:15 PM; Friday at 8:15 PM; Saturday at 2:15 PM & 8:15 PM; and Sunday at 3:15 PM. Please note, there is no performance on Thursday, November 28 (Thanksgiving). Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $49 ($33.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org. Running time is 1 hour and 30 minutes with no intermission.
Permalink | Posted by David Roberts on Saturday, November 23, 2013
“One Night …” at the Cherry Lane Theatre (Through December 15, 2013)
Rutina Wesley as Alicia G/Photo by Sandra Coudert
“One Night …” at the Cherry Lane Theatre (Through December 15, 2013) Written by Charles Fuller Directed by Clinton Turner Davis Reviewed by David Roberts Theatre Reviews Limited
The utter moral ambiguity of war and its accoutrements is powerfully reflected in Charles Fuller’s spellbinding “One Night …” the co-production of Cherry Lane Theatre and Rattlestick Playeright’s Theatre currently running at the Cherry Lane Theatre. Although Mr. Fuller’s play provides no new information about Post Traumatic Stress Syndrome in returning war veterans – that is not the purpose of this important play – it does focus on important matters of motivation, including the need to confess and the desire to be forgiven.
Alicia G (Rutina Wesley) ends up living in her car behind her mother’s house after returning from serving in the military in Iraq. Alicia has not only been brutalized by the vivid and recurring memories of her time in Iraq; she continues to be brutalized by the equally vivid and recurring memory of the one night she was gang-raped by fellow servicemen. Alicia is surprised by a visit from Horace Lloyd (Grantham Coleman) the fellow serviceman who, after fourteen months, has managed to track her down, travel to her home, and offer to help her out of her homeless despair.
This odd liaison lands the pair in a shelter which mysteriously burns to the ground and relocates them in a nearby motel for one night. And it is in this motel, in the midst of PTSD flashbacks, that another mystery is solved; namely, who was responsible for the gang-rape of Alicia G. Not unlike a cat-and-mouse thriller, “One Night …” explores the motivations of Horace and Alicia as they delve deeper into the relationship that has tapped into their matrix of co-dependence and search for unconditional and non-judgmental love.
Grantham Coleman and Rutina Wesley use their formidable craft to skillfully and carefully peel away the fear-laden layers of their characters’ personalities. Watching these two young actors provides a window into the tortured lives of two veterans scarred not only by war but by their disparate backgrounds and baggage. Their characters are manipulative, frightened, combative, angry, and confused and Mr. Coleman and Ms. Wesley give performances that permit the audience to question everything they previously believed about war and peace.
Motel owner Meny (Cortez Nance, Jr.) is the “stateside” version of the battlefields abroad who fails to understand why Horace would object to pimping Alicia to his hourly-rate clients. Mr. Nance portrays Meny with all the character’s smarminess and depravity firmly in place. K. K. Moggie and Matthew Montelongo handily portray the characters that inhabit Alicia’s and Horace’s debilitating PTSD flashbacks and memories.
“One Night …” is a hauntingly powerful extended metaphor for all the atrocities of war and the effects those offenses have on returning serviceman and their families. It raises important questions – most with no specific answer – about what is delusional and what is real; who is crazy and who is not; racism; sexism; and the necessity of war. This is not an easy menu of queries to resolve; however, Mr. Fuller’s play, under Clinton Turner Davis’s resplendent and firm direction, does raise the significant questions about the human condition when it is forced to interface the inhumanity of war.
ONE NIGHT …
“One Night...” is a co-production of the Cherry Lane Theatre and Rattlestick Playwrights Theater and is directed by Clinton Turner Davis.
The cast of “One Night…” is Grantham Coleman, Bianca LaVerne Jones, K.K. Moggie, Matthew Montelongo, and Cortez Nance Jr.
The scenic design for “One Night…” is by John McDermott; costume design is by Jessica Jahn; lighting design is by Nicole Pearce; sound design is by Sean O’Halloran; video design is by Gil Sperling. The production manager is Eugenia Furneaux; the production stage manager is C. Renee Alexander; the assistant stage manager is Kristin Pfeifer. Production photos by Sandra Coudert.
“One Night…” plays Monday and Tuesday at 7pm, Thursday and Friday at 8pm, Saturday at 2pm and 8pm, Sunday at 3pm at Cherry Lane Theatre, 38 Commerce Street (three blocks south of Christopher Street, west of Seventh Avenue South). Tickets to “One Night…” may be purchased by visiting www.cherrylanetheatre.org or by phoning Ovationtix at 866-811-4111. Individual tickets are $66, $25 for patrons under 30 years old and theater artists, $20 for military with valid ID, and $20 for students with valid ID. Information for specially priced Rattlestick membership tickets is available by visiting www.rattlestick.org/memberships or by phoning 212-627-2556. For more information about “One Night...,” please visit www.cherrylanetheatre.org. Running time is 90 minutes without an intermission.
Permalink | Posted by David Roberts on Thursday, November 21, 2013
“All That Fall” at 59E59 Theater A (Through December 8, 2013)
Eileen Atkins and Michael Gambon
“All That Fall” at 59E59 Theater A (Through December 8, 2013) Written by Samuel Beckett Directed by Trevor Nunn Reviewed by David Roberts Theatre Reviews Limited
“The LORD upholds all who fall and lifts up all who are bowed down.” Psalm 145:14 (NIV)
During her belabored round trip from her home to the train station to pick up her husband Mr. Rooney (Michael Gambon) on his birthday, Mrs. Rooney (Eileen Atkins) rehearses the variety of her physical and emotional deficits: there is much that has “bowed down” this seemingly broken older woman; however, she has all but given up on any chance of divine intervention for redemption or release. The Rooney’s malaise is the subject of Samuel Beckett’s timeless “All That Fall” currently gracing the Theater A stage at 59E59.
This 1956 one-act radio play is Samuel Beckett tragicomedy at its best. Underscored (figuratively) by Franz Shubert’s “Death and the Maiden,” “All That Fall” is a testament to death and all its precursors and its movements (the trip to the station alone, events at the station, the walk home together) counterpoint the vicissitudes of the human experience as seen from the point of view of all that is absurd and surreal.
The brokenness of Maddy’s and Dan’s lives is unmasked in Maddy’s conversations with stydung salesperson Christy (Ruairi Conaghan), cyclist Mr. Tyler (Frank Grimes), her old admirer Mr. Slocum (Trevor Cooper), station porter Tommy (Billy Carter), stationmaster Mr. Barrell (James Hayes), Protestant do-gooder Miss Fitt (Catherine Cusack), and with her husband Dan on the way home from the station. When Maddy feels ignored by Tommy, she expresses the ultimate of twenty-first century ennui as she shares with him, “Don’t mind me. Don’t take any notice of me. I do not exist. The fact is well known.”
Miss Fitt (Catherine Cusack) is not the only misfit on the journey from Brighton Road to Foxrock Railway Station. Everyone Maddy Rooney encounters has issues of loss, poor health, maladjustment, madness, or sheer meanness. Oddly the only centered character is young Jerry (Liam Thrift) who is saddled with the adult responsibility of delivering a ball Mr. Rooney apparently dropped on the train. He also delivers the news that the train was delayed because “It was a little child fell out of the carriage.”
The production is faithful to the Beckett estate’s conditions for staged readings: producers agree to limit the action to actors speaking the lines and walking to and from chairs. Under Trevor Nunn’s genteel direction, the brilliant ensemble cast manages to convince the audience it is observing a radio broadcast that would take place with or without the onlookers. It is the audience’s privilege to be able to “peek” into the “studio” as the actors move from chairs to “overhead microphones” back to their seated positions when not “reading” their scripts.
Whether we exist or not is not a question relevant to Maddy Rooney alone: nor is wondering if there is anyone “out there” to lift us up when we fall. Samuel Beckett’s “All That Fall” allows the listener to tune into her or his own sense of lassitude and abandonment. The radio play also allows the audience to honestly face its own complicity in the falling of others from grace, in the “falling under the wheels” of those who by their very existence challenge our autonomy and authenticity.
ALL THAT FALL
Produced by Richard Darbourne Ltd and Jermyn Street Theatre in association with Gene David Kirk, “All That Fall” runs for a limited engagement through Sunday, December 8 and is directed by Trevor Nunn.
Eileen Atkins and Michael Gambon will be joined in the Off Broadway production by Ruairi Conaghan, Frank Grimes, Trevor Cooper, Billy Carter, James Hayes, and Catherine Cusack.
The creative team includes Cherry Truluck (designer); Phil Hewitt (lighting designer); Paul Groothuis (sound designer); Anthony Biggs (associate director); and Ed Clarke (associate sound director). Production photos are by Carol Rosegg.
“All That Fall” is at 59E59 Theaters (59 East 59th Street, between Madison and Park Avenues). The performance schedule is Tuesday – Thursday at 7 PM; Friday - Saturday 8 PM; with matinee performances on Wednesday and Saturday at 2 PM; and Sunday at 3:00 PM. Please note, there is no performance on Thanksgiving, Thursday, November 28. Single tickets are $70 ($49 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Tuesday, November 19, 2013
“Fix Me, Jesus” at Abingdon Theatre Company’s Dorothy Streslin Theatre (Through November 24)
“Fix Me, Jesus” at Abingdon Theatre Company’s Dorothy Streslin Theatre (Through November 24) Written by Helen Sneed Directed by Sam Pinkleton Reviewed by David Roberts Theatre Reviews Limited
“Fix me for my long white robe, /fix me, Jesus, fix me. /Fix me for my starry crown, /fix me, Jesus, fix me. Fix me for my journey home, /fix me, Jesus, fix me. /Fix me for my dying bed, /fix me, Jesus, fix me.” (African-American Spiritual, adapted and arranged by William Farley Smith)
There appears to be a considerable amount of fixing going on in Dallas, Texas in November of 1986 and in the preceding decades leading up to Annabell Armstrong’s (played with brilliance by Polly Lee) last minute shopping spree at Dallas’ famed Neiman Marcus store. Primarily, almost everyone in Annabell’s life has thought she needed fixing – everyone except Jesus.
Annabell’s mother (played with appropriate frenzy by Lori Gardner) – she a co-dependent creature – always believed Annabell was “fat” and needed to slim down. The child’s grandmother (played deliciously Southern by Lisa McMillan) considers Annabell’s left-leaning Weltanschauung in need of serious fixing. After slapping Annabell’s face hard after, as a child, she referred to a guest at the Democratic National Convention as a “Negro lady,” doting grandma fixes her grand-daughter’s diction with: “There’s no such thing as a “nigra lady!” A nigra is never called a “lady.” The proper term is colored woman or colored girl. (To Mother) See how you’ve corrupted her.” The chain of fixing never ends. Nor apparently does the scourge of racism.
Additionally, Annabell’s transplanted-from-New-York psychoanalyst Dr. Maxwell Feld (played with sweet smarminess by Mitch Tebo) also joins the fixing frenzy by suggesting all Annabell’s ills stem from a fear of success. Although he proves to be somewhat correct, his professional opinion is tarnished by his (not unexpected) confession of love for Annabell despite his married status.
Playwright Helen Sneed develops all of these characters with a firm commitment to authenticity and believability. She also provides conflicts that drive a series of compelling plots that cross over space and time. Annabell as a child (played with grace and charm by Kate Froemmling) stands on stage right next to the adult Annabell; both characters often performing the exact same movements in two different time periods. The “glue” which connects all space and time is Mrs. Craig (played with steely yet sensitive skill by Lee Roy Rogers) who is the only character who loves Annabell throughout her life unconditionally and non-judgmentally.
Ultimately, Annabell finds her way through the maze of self-acceptance and emerges a separate and individuated adult. She divorces herself from the “past which has caught up with her” and her “self-loathing” behavior and stumbles headlong into a meaningful construct of health and hope.
Special mention goes to director Sam Pinkleton who exquisitely fuses past and present into a unified and powerful performance given by a dedicated and craft-honed ensemble cast. Finding one’s way from co-dependence to authentic adulthood is not an easy task and many fail in the attempt. “Fix Me, Jesus” is the perfect anecdote to that failure. Annabell is fixed for her journey home in the present and in the future.
FIX ME, JESUS
The ensemble features Kate Froemmling, Lori Gardner, Polly Lee, Lisa McMillan, Lee Roy Rogers, and Mitch Tebo.
The creative team includes Christopher Ford and Dakota Rose (co-set and costume design); Vadim Ledvin (lighting design); Margaret Pine (composer and sound design). Production Stage Manager is Deidre Works. Production photos are by Kim T. Sharp.
Performances of "Fix Me, Jesus" run through November 24: Wednesdays and Thursdays at 7:00 p.m.; Fridays at 8:00 p.m.; Saturdays at 2:00 p.m. and 8:00 p.m.; and Sundays at 2:00 p.m. (with the following exception: Sunday, November 10 at 5:00 p.m.) at Abingdon Theatre Company's Dorothy Strelsin Theatre (312 West 36th Street, between 8th and 9th Avenues). Tickets are $25. For tickets, call 866-811-4111 or visit www.abingdontheatre.org. Running time is 90 minutes with no intermission.
Permalink | Posted by David Roberts on Saturday, November 16, 2013
“How to Make Friends and then Kill Them” at Rattlestick Playwrights Theater (Through November 24)
Katya Campbell, Jen Ponton, and Keira Keeley/Photo by Hal Horowitz Photography
“How to Make Friends and then Kill Them” at Rattlestick Playwrights Theater (Through November 24) Written by Halley Feiffer Directed by Kip Fagan Reviewed by David Roberts Theatre Reviews Limited
Co-dependent sisters Ada (Katya Campbell) and Sam (Keira Keeley) and their alter-ego sidekick Dorrie (Jen Ponton) suffer from a somewhat classic case of disambiguation and their individual and corporate arrested development occupy the stage in Helley Feiffer’s complex and often disturbing “How to Make Friends and then Kill Them” currently running at the Rattlestick Playwrights Theater.
Ms. Feiffer’s new play not only begs for but demands psychological criticism to successfully peel off the delicious layers of meaning in her text. Superego, ego, and id collide, morph, collapse, and re-emerge as the three characters rehearse the stages of development for the often unsuspecting audience. Ada’s, Sam’s and Dorrie’s childhoods, teenage years, and adulthoods never quite achieve separate developmental identities; rather, they are each “stuck” somewhere in development and cry out for redemption and release from their psychological angst. Sam admits to wanting to die “so bad.” Unable to escape her addictions, Ada simply just “does not care” any more. And Dorrie does whatever is necessary to be loved including offering up her life.
Katya Campbell, Keira Keeley, and Jen Ponton skillfully navigate their way through the complexities of their characters’ psyches with an uncanny understanding of Ada, Sam, and Dorrie respectively. The portrayals they give are never simplistic or overwrought. They bring the vignettes from their characters’ lives to a realistic albeit disquieting level often matching the girls’ definitions of “weird” and “creepy.” They rehearse childhood games in their adulthood hoping to recapture a more innocent time. They are so without boundaries they easily exchange identities and desires. They struggle to understand what friendship is and always manage to just miss its mark.
Andromache Chalfant’s multi-level set is a striking mindscape which reflects the inner workings of the human mind: there are places where memories reside; there are unfinished mental landscapes (insulated wall studs with no sheetrock); and there is the cellar, the mysterious and frightening aspects of the mind’s domain. Most of the action takes place in the family kitchen, the room normally occupied by warmth and nurturing but in this case the scene of horrific memories of an alcoholic mother and the characters’ recurring attempts to cheat the dissolution of their ego strength perhaps one more time.
Director Kip Fagan manages to make all of this work with a distinguished level of grace and care. There are no wasted moments in this fine production. And under Mr. Fagan’s direction the cast makes only right choices about their characters and their motivations. The challenge for the audience is to determine whether Ada, Sam, and Dorrie are separate individuals or a surreal representation of the complexities of the human mind as it “walks the boards” of separation and individuation. In either case, the result is gripping theatre which insists that the audience grapples with the mysteries of growing up, codependence, and all too often, the “fear and trembling unto death.”
HOW TO MAKE FRIENDS AND THEN KILL THEM
“How to Make Friends and then Kill Them” is presented by Rattlestick Playwrights Theater (Artistic Director David Van Asselt and Managing Director Brian Long), is directed by Kip Fagan and runs through Sunday, November 24.
The cast of “How to Make Friends and then Kill Them” includes Katya Campbell, Keira Keeley, and Jen Ponton.
The scenic design for “How to Make Friends and then Kill Them” is by Andromache Chalfant; costume design is by Jessica Pabst; lighting design is by Tyler Micoleau; sound design is by Daniel Kluger. The production manager is Eugenia Furneaux; the production stage manager is Michael Denis; the assistant stage manager is Michelle Scalpone. Production photos by Hal Horowitz Photography.
“How to Make Friends and then Kill Them” plays Mondays and Wednesdays at 7pm, Thursdays and Fridays at 8pm, Saturdays at 2pm and 8pm, and Sundays at 7pm at Rattlestick Playwrights Theater, 224 Waverly Place, west of Seventh Avenue South, between West 11th and Perry Streets. Individual tickets to “How to Make Friends and then Kill Them” may be purchased at www.rattlestick.org or by calling OvationTix at 866.811.4111. Individual tickets are $55, Student tickets are $10, and under-30 tickets are $15. For more information about “How to Make Friends and then Kill Them” and Rattlestick Playwrights Theater, visit www.rattlestick.org. The running time is 90 minutes without an intermission.
Permalink | Posted by David Roberts on Friday, November 15, 2013
“Disaster!” at the St. Luke’s Theatre (Open Run)
“Disaster!” at the St. Luke’s Theatre (Open Run) Written by Seth Rudetsky and Jack Plotnick Directed by Jack Plotnick Reviewed by David Roberts Theatre Reviews Limited
As parodies go, Seth Rudetsky’s “Disaster!” is among the best. Eschewing lampooning just one disaster-genre movie, Mr. Rudetsky and Mr. Plotnick successfully spoof several of the catalog of doomsday films of the 1970s that feature the disfigurement, death, and discord that results from some combination of electrical or natural gas disturbances; earthquakes; floods; tsunami; sinking ships; plagues; or infestations. There is even a nod to the volcano disaster films. But no spoilers will be proffered here. Audience members will have to find their own way through the morass of movie mayhem. Suffice it to say that in “Disaster!” floating casino guest Shirley (Mary Testa) chooses tap dancing over swimming to save the day for fellow casino guests and staff.
The musical, on the move from an earlier weekly run at the Triad Theatre, is replete with similar outrageously humorous allusions which keep the audience not only responding with laughter but with anticipation of the next brilliant moment of parody. But it is not parody alone that makes this jukebox musical a success and a candidate for an extended life Off-Broadway for years to come. “Disaster!” has well developed characters with believable conflicts other than their pending demise. These conflicts drive oddly heartwarming (as well as typically outrageous) plots. The musical also sports over thirty-five hits from the 1970s which is “hot stuff” indeed.
The main story line is simple: tycoon Tony (John Treacy Eagan) is anxious to get New York City’s first floating casino open and lucrative. Unfortunately, he has sidestepped as many city inspections as the number of permits he applied for. But not only is his casino unsafe, but also the dock it is moored to has been drilled into a dangerous and unstable fault line. Geologist Ted (Seth Rudetsky) is aware of the impending disaster and attempts to warn the passengers of the danger they are in.
Several sub-plots pepper the musical with interesting conflicts and cleverly crafted characters. Casino waiters Chad (Matt Farcher) and Scott (Robb Sapp) are hoping to find prospective dates among the guests on the boat; however, Chad runs into reporter Marianne (Haven Burton) who is the woman who left him standing at the altar years earlier. A Roman Catholic Sister (Jennifer Simard) does her best to warn entering gamblers they are on the fast-track to Hades but is forced to confront her own recovering gambler demons when she finds a quarter on the floor of the casino. Chanteuse Jackie (Michele Ragusa) is looking for a career comeback and a father for her eleven year old twins Ben and Lisa (Jonah Verdon). Perhaps past her prime disco star Levora (Charity Dawson) attempts to get as much as she can without spending a dime. And outer-borough couple Shirley and Maury (Mary Testa and Tom Riis Farrell) hope to rekindle love’s flame as Shirley’s sentience begins to succumb to cancer.
The cast is rounded out by stock characters played by Saum Eskandani, Sherz Aletaha, and Maggie McDowell. All performances, under Jack Plotnick’s thoughtful direction, are exhilarating and engaging. It is remarkable how connected the audience becomes to characters that, in the hands of less skilled performers, could be nothing more than cartoons.
Highlights among the performances delivered by the distinguished ensemble cast are Sister’s plaintive “The Lord’s Prayer” (Albert Hal Malotte); Chad and Scott’s “Saturday Night” (Bill Martin and Phil Coulter); Marianne’s “Feelings” (Morris Albert and Louis Gaste); and Chad’s ode to Marianne “Three Times a Lady” (Eddie Floyd/Steve Cropper).
The two hours and five minutes of “Disaster!” move by quickly convincing the audience that it is “All Right Now” (Andy Fraser and Paul Rogers) to sit back and enjoy rehearsing the disaster movies of the 1970s and the tops hits of the same remarkable decade.
DISASTER
The cast of “Disaster!” includes Sherz Aletaha, Haven Burton, Paul Castree, Charity Dawson, John Treacy Egan, Saum Eskandani, Matt Farcher, Tom Riis Farrell, Drew Geraci, Ashanti J’Aria, Maggie McDowell, Michele Ragusa, Seth Rudetsky, Robb Sapp, Jennifer Simard, Mary Testa, and Jonah Verdon.
Presented by Mary J. Davis, “Disaster!” has set and lighting design by Josh Iacovelli; costume design by Brian Hemesath, and sound design by Brett Rothstein. Larry Pressgrove is the Music Director, and Steve Marzullo is the Music Supervisor. Drew Geraci is the associate director and choreographer. Jeff Davolt is the Production Stage Manager, and Tom Kosis is the ASM.
“Disaster!” will be performed Off-Broadway at the St. Luke’s Theatre (308 W. 46th Street) beginning Monday October 14th. The schedule is Mondays at 7:30 PM, Tuesdays at 7:30 PM, Wednesdays at 2:30 PM, and Fridays at 8:00 PM. Opening night is Monday, November 4th. The running time is 2 hours and 5 minutes including and intermission.
Tickets for Disaster!" priced from $39.50 – $69.50 are on sale now via Telecharge. Call 212-239-6200 (800-447-7400 outside of NYC) or visit disastermusical.com to purchase tickets online.
Permalink | Posted by David Roberts on Thursday, November 7, 2013
The 25th Annual Festival of New Musicals
The 25th Annual Festival of New Musicals October 17 – 18, 2013 at New World Stages Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
Anyone with fears that there is a dearth of new musicals on the horizon can stop worrying: the National Alliance for Musical Theatre (NAMT) has been hard at work since 1989 introducing writers and their new musicals to significant theatre industry leaders. The nine new musicals introduced at this year’s Festival garnered overwhelming support from those leaders who packed Stages 2 and 4 at New World Stages in New York City to develop a working relationship with the new musicals and their writers.
The nine musicals that were seen in 45-minute stage readings were Analog & Vinyl (Book, Music and Lyrics by Paul Gordon), The Boy Who Danced on Air (Book and Lyrics by Charlie Sohne/Music by Tim Rosser), Come From Away (Book, Music and Lyrics by Irene Sankoff and David Hein), Eastland (Book and Lyrics by Andrew White/Music by Andre Pluess and Ben Sussman), My Heart is the Drum (Book by Jennie Redling/Music and Concept by Phillip Palmer/Lyrics by Stacey Luftig), The Astonishing Return of…The Protagonists! (Book and Lyrics by Kevin Del Aguila/Music by Michael Shaieb), The Sandman (Book and Lyrics by Robert Taylor and Richard Oberacker), Single Girls Guide (Book by Gordon Greenberg/Music and Lyrics by Tommy Newman), and The Three Little Pigs (Book and Lyrics by Anthony Drewe/Music by George Stiles).
Industry leaders introduced each team of writers who then introduced their new musical and how they chose to present their work: some used the 45-minute segments to run through an entire act while others used the time to showcase songs from the entire musical with a narrator filling in important details of exposition, setting, and story line. Each of the nine presentations featured outstanding casts of Broadway and Off-Broadway actors and musicians.
The energy was high at the Festival as industry leaders and NAMT members lined up for each musical either anticipating what they were about to see or commenting on what they had previously seen. There was no doubt that the new musicals would garner support from not only New York producers but from the Regional Theatres in the United States and professional theatres from around the world.
The Festival also featured a “Songwriters Showcase” on the second day with seasoned writers and newcomers sharing their thoughts (talk show style) on their most recent projects in progress.
For further information on the National Alliance of Musical Theatre and its important work, please visit http://www.namt.org/
THE 25TH ANNUAL FESTIVAL OF NEW MUSICALS
Since 1989, NAMT has introduced 490 writers and 270 new musicals to theatre industry leaders. These musicals have had thousands of subsequent productions worldwide, and over 75% of the writers have seen further development for their musicals, have found agents, licensing agreements, or commissions as a direct result of the Festival. Past highlights include Broadway’s The Drowsy Chaperone, winner of five 2006 Tony Awards and Thoroughly Modern Millie, 2002 Tony Winner for Best Musical. Off-Broadway successes are I Love You Because, Ordinary Days, See Rock City & Other Destinations, Striking 12, Songs for a New World, and Vanities. Regional hits include Ace, Children of Eden, Emma, Honk!, Kingdom, Meet John Doe, and Winesburg, Ohio.
Permalink | Posted by David Roberts on Saturday, November 2, 2013
“Romeo and Juliet” at Classic Stage Company (through November 10, 2013)
Elizabeth Olsen and Julian Cihi as Juliet and Romeo/Photo by Joan Marcus
“Romeo and Juliet” at Classic Stage Company (through November 10, 2013) By William Shakespeare Directed by Tea Alagic Reviewed by David Roberts Theatre Reviews Limited
Anyone attempting to assist students (high school or college) grapple with the multi-layered meanings in William Shakespeare’s “Romeo and Juliet” ought to be banging down the door of Classic Stage Company’s box office to schedule a performance for their classes before this scintillating and often disturbing production of the Bard’s classic closes on Sunday November 10, 2013. The rest of the population – groundlings though we be – should be clamoring to get to the box office before the faculty does.
Wizard Tea Alagic performs pure thaumaturgy in her direction of this forward-thinking production. Although this “Romeo and Juliet” is staged intentionally to demonstrate the permanence of Shakespeare’s text in the literary canon, Ms. Alagic’s visionary direction also brilliantly overlays the text with exquisite and disciplined acting by an ensemble cast whose craft handily counterpoints the text. Marsha Ginsberg’s minimal set, Jason Lyons’ hypnagogic lighting, and Clint Ramos’ contemporary costumes further distinguish this offering as an exemplary success for minimalist theatre.
Eschewing the reading of the Prologue and a substantial number of lines at the end of Shakespeare’s text of “Romeo and Juliet,” director Alagic chooses to focus her attention on characterization and conflict development, particularly the conflicts which drive the rich plots surrounding the protagonists’ almost urgent attempts to find and celebrate authentic love. All of this dramaturgy is accomplished because of the resplendent performances of Julian Cihi (Romeo), Elizabeth Olsen (Juliet), Daphne Rubin-Vega (Nurse), and Daniel Davis (Friar Laurence).
Although the performances of these four actors cannot be fully appreciated without considering the stellar practice of the remaining cast, their rich understanding of their characters and their disparate conflicts drive the action of this production forward with almost dizzying velocity. Mr. Cihi’s Romeo captures both the innocence of adolescent love and the angst of a generation struggling for effectual separation and individuation. Ms. Olsen manages to capture the spirit of a young woman physically and emotionally abused by an overbearing and disturbed father (David Garrison) and a teenager desperate to find unconditional and nonjudgmental love.
Romeo and Juliet’s “star-crossed” love is privy to and nourished by their mutual spiritual advisor and by Juliet’s long-suffering nurse. Daniel Davis’s transcendent performance as Verona’s Friar exposes the conflicted soul of a cleric who knows his role is more than confessor. Daphne Rubin-Vega conjures up a Nurse unlike any other on any other stage ever. Her performance is pure and raw genius. After her delivery of the Nurse’s response to Lady Capulet’s attestation of Juliet’s age in Act I, Scene III, the audience might wonder if Capulet was really the biological father of Juliet (compare Hamlet’s problem with his progenitor).
It is difficult to single out the remarkable performances delivered by the remainder of the cast although special mention goes to Harry Ford, T.R. Knight, McKinley Belcher III, and Dion Mucciacito who manage to capture the tortured lives of peers who are divided by ancient and loathsome family altercations.
In some way, it is somewhat unfortunate that the Prince’s (Anthony Michael Martinez) ultimate monologue is not included in this production: “A glooming peace this morning with it brings; /The sun, for sorrow, will not show his head:/Go hence, to have more talk of these sad things; /Some shall be pardon'd, and some punished:/For never was a story of more woe/Than this of Juliet and her Romeo.” Perhaps the world outside Classic Stage Company’s space needs “more talk” about the consequences of scorning the familial, governmental, and corporate factionalism that continues to oppress daily headlines.
Readers have only a few days left to be transported to theatrical excellence. Please do not miss this opportunity.
ROMEO AND JULIET
“Romeo and Juliet” is presented by Classic Stage Company (Brian Kulick, Artistic Director and Greg Reiner, Executive Director. The director is Tea Alagic.
The cast of “Romeo and Juliet” includes McKinley Belcher III (Benvolio), Julian Cihi (Romeo), Daniel Davis (Chorus/Frian Laurence), Stan Demidoff (Sampson/Paris), Harry Ford (Gregory/Friar John/Watchman), David Garrison (Capulet), T. R. Knight (Mercutio), Anthony Michael Martinez (Prince), Kathryn Meisle (Lady Capulet), Dion Mucciacito (Tybalt), Elizabeth Olsen (Juliet), John Rothman (Montague/Apothecary) and Daphne Rubin-Vega (Nurse).
The creative team includes sets by Marsha Ginsberg; costumes by Clint Ramos; lighting by Jason Lyons; music and sound by Ryan Rumery; dramaturge, Megan E. Carter; managing director, Jeff Griffin; production stage manager, Raynelle Wright; production manager, Adrian White; and production supervisor, Production Core. The company photographer is Joan Marcus.
“Romeo and Juliet runs at Classic Stage Company, 136 East 13th Street through Nov. 10 on the following performance schedule: Tuesdays through Thursdays at 7:00 p.m.; Fridays at 8:00 p.m.; Saturdays at 3:00 p.m. and 8:00 p.m.; and Sundays at 3:00 p.m. Tickets start at $60.00. For tickets, call (212) 352-3101 or visit www.classicstage.org. Running time is 2 hours and 30 minutes with a fifteen-minute intermission.
Permalink | Posted by David Roberts on Monday, October 28, 2013
“Apartment 3A” at J CITY Theatre at St, Michael’s Church (Jersey City, NJ) through October 26th
“Apartment 3A” at J CITY Theatre at St, Michael’s Church (Jersey City, NJ) through October 26th Written by Jeff Daniels Directed by Sandy Cockrell Reviewed by David Roberts Theatre Reviews Limited
J CITY Theatre handily brings Jeff Daniels modern day ghost story to sparkling reality in its current production of “Apartment 3A.” Public television executive Annie Wilson (Sandy Cockrell) moves into a new apartment after walking out on her cheating husband. Although the apartment looks out onto what Annie describes as a slum, it is her only choice and it fits her budget.
Annie’s life is angst-ridden: not only is she furious with her low-life husband but her rage over his indiscretions spills over into her workplace. In a live plea for funding for the PBS station she works for, Annie tells her (mostly pre-adolescent) viewers That Big Bird would most likely die if substantial pledges did not start lighting up the call center’s phone bank. Additionally, she is trying (with little success) to dodge the affections of co-worker Elliot (Stephen Hope) and her uber-nosey and oddly ever-present neighbor Donald (Clay Cockrell) who lives right across from apartment 3A.
Although Mr. Daniels’ script is quite transparent, it does provide a sweet and touching story about the power of unconditional and non-judgmental love and the importance of having some degree of faith – in something. The ensemble cast is quite endearing and uses its collected craft to make all the conflicts and plots come together in a charming albeit predictable resolution. Donald is visiting the apartment he once occupied before his death and has returned to assist Annie in her own transition into selfhood.
Sandy Cockrell also directs “Apartment 3A” with attentive precision and infectious grace. Randall Marquez brings the roles of building superintendent Dal and station manager Tony to appropriate believability.
APARTMENT 3A
J CITY Theater the professional theater company located in downtown Jersey City is proving that they’re “Jersey strong” by staging their comeback production on October 11, 2013. The show runs for three weeks with a scheduled closing of October 26th.
“Apartment 3A” will star Sandy Cockrell, Stephen Hope, Randall Marquez and Clay Cockrell. The Stage Manager is Jack Vandewark and Tech Director is Nick Probst. Jacquelyn Bird is the choreographer and Katie Brennan is the production’s acting assistant.
APARTMENT 3A runs from October 11th through October 26th at The Underground Theater at St. Michaels Church – Hamilton Park 252 Ninth Street, Jersey City, NJ 07302 on the following performance schedule: Wednesdays, Thursdays, Fridays, Saturdays at 8:00 pm. Tickets are $20.00 and can be purchased through www.brownpapertickets.com or www.jcity.org or calling 800-838-3006.
Permalink | Posted by David Roberts on Thursday, October 24, 2013
“The Downtown Loop” at 3LD Art and Technology Center through November 16, 2013
L-R: Sarah Mollo-Christensen and Greg Carere in THE DOWNTOWN LOOP at 3LD Art & Technology Center. Photo by Todd Carroll
“The Downtown Loop” at 3LD Art and Technology Center through November 16, 2013 By Ben Gassman Directed by Meghan Finn Reviewed by David Roberts Theatre Reviews Limited
“Downtown Loop” often takes the same “swimming” break (euphemism for a nap) its unnamed tour guide (Greg Carere) indulges in during its often exciting but sometimes boring journey through downtown Manhattan. With his trainee (Sam Soghor), the energetic but somehow jaded tour guide talks his passengers through the streets and canyons of the “demon god” of the city that never sleeps. His tour, interrupted by the coming and going of tour participants and a variety of street vendors and characters from the guide’s life, includes fact and fiction and far too often veers off course.
David Ogle’s mind-stretching set with sound design by Jon Bernstein and lighting design by Sarah Johnston are nothing short of brilliant but simply cannot overcome the deficits in playwright Ben Gassman’s checkered script. Sam Soghor, who greets the audience as they are seated on “the bus,” brings needed energy and believability to the action but even his charming interventions cannot overcome the dreary back stories involving street vendors, a Basque woman, a Finnish woman, and “her.”
The experience is not without a payoff although the audience waits almost the full seventy minutes for their reward. Mr. Gassman’s emotional story about George Washington’s walk from his home under the Brooklyn Bridge (now the site of the Jehovah Witnesses prime DUMBO real estate) to his workplace a half mile away and the equally haunting story of the Lenape nation’s real estate deal with the Dutch West India Company are any tour guides dream narratives. As heartwarming as these stories are, they are not enough to rescue “The Downtown Loop” from the bumpy ride it is.
THE DOWNTOWN LOOP
“The Downtown Loop” is presented by 3-Legged Dog and Teeth of Tooth Atelier and is directed by Meghan Finn.
The cast includes Greg Carere, Keelie Sheridan, Sarah Mollo-Christensen, Mia Jessup, Robert Metz, Sam Soghor, and Anthony Polat.
The production team includes Jared Mezzocchi (video design), Dave Ogle (set design); Sarah Johnston (lighting design); Emily Blumenauer (costume design); Jon Bernstein (sound design); and Allison Lyman (dramaturg).
“The Downtown Loop” runs for a limited engagement through Saturday, November 16. The performance schedule is Tuesday – Friday at 8:00 PM; Saturday at 3:00 PM & 8:00 PM. Performances are at 3LD Art and Technology Center (80 Greenwich Street, at Rector, in downtown Manhattan). Tickets are $25.00 and available by calling Ovationtix at 866-811-4111. For more information, visit www.3ldnyc.org.
Permalink | Posted by David Roberts on Thursday, October 24, 2013
“The Landing” at the Vineyard Theatre
Julia Murney, David Hyde Pierce, and Frankie Seratch in "The Brick"/Photo by Carol Rosegg
“The Landing” at the Vineyard Theatre Book and Lyrics by Greg Pierce Music by John Kander Reviewed by David Roberts Theatre Reviews Limited
“There’s a big boat with a long rope and the tide has turned/pull the long rope to stop the big boat/and all that happens is your hands get burned.” - Collin
“The Landing” is a smart new musical that frames three short tales. Each – “Andra,” “The Brick,” and “The Landing” – has unique characters with unique conflicts; however, the three are cleverly connected thematically. They are also consociated by the powerful image introduced by Collin (Frankie Seratch) in the final tale of the three-part musical: the “big boat with a long rope” serves as a scintillating extended metaphor for the difficulty one encounters when passion runs amok and the best laid plans of women, men, and harbingers of doom “gang agley” (as they often do). Desire, love, and loss connect each tale with a sometimes humorous, sometimes chilling result.
In the first tale, “Andra,” eleven-year-old Noah (Frankie Seratch) allows himself to develop trust in Ben (Paul Anthony Stewart) the 40-something carpenter building cabinets in his family’s New England country home. Ben woos Noah’s fragile trust by opening the abused boy’s heart with stories about Andromeda – the myth and the galaxy. The burns on the back of Noah’s neck, inflicted upon him by bullies at school, begin to fade as his relationship with father-substitute Ben solidifies. Unfortunately, other wounds open when Noah’s desire for a caring father and the love he offers Ben becomes conflicted when he discovers that his Mom (Julia Murney) also desires love and has been having an affair with Ben. Frankie Seratch captures Noah’s innocence and his abrupt coming-of-age with an almost disarming aplomb. Paul Anthony Stewart skillfully traverses the fine line between love motivated by honest feelings and love motivated by deception and rapacity and Julia Murney’s Mom manages to profoundly occupy the vortex where all loss convenes. David Hyde Pierce narrates this tale with grace.
Least satisfying is the second tale “The Brick” in which the boy Darius (Frankie Seratch) visits his aunt Charl (Julia Murney) and is consumed by her passion for the genre of mob movies which satisfy her legitimate need for excitement and control in a marriage bereft of both. Charl, tired of waiting for Uncle Cliff (Paul Anthony Stewart) to extricate himself from his culinary craft, decides to succumb to the infomercial pitch and buys “an actual brick from the wall of the St. Valentine’s Day Massacre” which promises to “bring the murder and mayhem right into your very own living room.” The ensemble cast does its best to make this dream-like tale (yes, there is a fantasy dance) work and often seems in the throes of discomfit as it navigates “The Brick’s” mortar. It is interesting that Kander’s music is most derivative (of his own work) in this tale of fantasy meets desperate housewife.
The final tale bears the name of the new musical’s imaginative title and is unquestionably the most powerful of the three. Jake (David Hyde Pierce) and Denny (Paul Anthony Stewart) are celebrating the arrival of their foster child Collin (Frankie Seratch) who turns out to be much more than a precocious twelve-year-old. Jake suspects Collin’s claims to be world-traveled at twelve and, in a conversation with the astute pre-adolescent, discovers that Collin has landed in their lives to escort Denny to his premature death through myocardial infarction on the landing Collin has invited Denny to visit with him. The couple’s desire to solidify their relationship with an adopted child briefly strains their bonds of love and intensifies the experience of loss. This tale is in no way maudlin but it manages to be empowering in its depiction of human weakness. The work of the ensemble cast, the book, lyrics, music, lighting (Ken Billington), set (John Lee Beatty), and direction coalesce in this tale with a spirit-filled synergy that defies precise description: prepare to be shaken to the core of being. Julia Murney as Jake’s younger sister empathically narrates this tale.
Walter Bobbie directs “The Landing” with calculated but ever so successful risks. Greg Pierce’s book and lyrics are fresh and vary appropriately between the disparateness of the tales. As always, John Kander’s music is both mesmerizing and salvific. The musicians (Paul Masse, Vincent DellaRocca, Vivian Israel, and Greg Landes) enmesh themselves in the matrix of John Kander’s music with flawless proficiency.
The three tales serve as fables, parables really, for humanity’s reach for meaning and longevity. Human beings are pretty predictable when it comes to crimes of the heart. Hoping for redemption and release, humanity has consistently challenged the direction of the “long boats” that have been launched. Longing for love, ropes have been grasped hoping to change the fickle direction of fate. Despite consistent hand burns, women and men continue to leverage the ravages of loss. “The Landing” navigates this journey with astonishing benevolence.
THE LANDING
“The Landing” is presented by the Vineyard Theatre (Douglas Aibel, Artictic Director; Sarah Stern, Co-Artistic Director; and Jennifer Garvey-Blackwel, Executive Producer). The choreography is by Josh Rhodes and it is directed by Walter Bobbie.
Featured in the cast of “The Landing” are David Hyde Pierce, Julia Murney, Paul Anthony Stewart, and Frankie Seratch.
THE LANDING has set design by John Lee Beatty, lighting design by Ken Billington, costume design by Michael Krass, and sound design by Nevin Steinberg. David Loud is music director, orchestrations are by Larry Hochman and Paul Masse is conductor. Production photos by Carol Rosegg.
Scheduled through November 24, “The Landing” will perform Tuesdays and Wednesdays at 7:00 p.m., Thursdays through Saturdays at 8:00 p.m. and Saturdays and Sundays at 3:00 p.m. at The Vineyard Theatre (108 East 15th Street). Tickets are $80.00 and can be purchased by calling the Vineyard box office at 212 353 0303 or online at www.vineyardtheatre.org. The running time is 1 hour and 40 minutes with no intermission.
Permalink | Posted by David Roberts on Wednesday, October 23, 2013
“Juno and the Paycock” at the Irish Repertory Theatre
Ciarán O’Reilly as "Captain" Jack Boyl/Photo by James Higgins
“Juno and the Paycock” at the Irish Repertory Theatre through December 8, 2013 By Sean O’Casey Directed by Charlotte Moore Reviewed by David Roberts Theatre Reviews Limited
The Boyle family is a wounded family whose vitality has been disarmed by struggles within the family system and a myriad of conflicts without the confines of that system. Perhaps the Boyles’ most significant problem is economic: “Captain” Jack Boyle (Ciarán O’Reilly) abhors work and the mere suggestion of responding to an offer of work sends sharp pains up and down one leg and then the other. His wife Juno (J. Smith-Cameron) and daughter Mary (Mary Mallen) do their best to keep the family tenement supplied with life’s necessities. Adding to the family’s difficulties is son Johnny (Ed Malone) who lost his arm in Ireland’s War of Independence.
The action of Sean O’Casey’s “Juno and the Paycock” takes place in 1922 Dublin, Ireland just one year after the conclusion of the Irish Revolution and in the midst of the subsequent Irish Civil War and Johnny is the trope, here an extended metaphor, for the myriad of conflicts extant outwith the Boyle family’s inner sanctum. Johnny’s mantra “I’ve done enough for Ireland” is the mantra of many of those wounded by the vicissitudes of war and it is his angst that provides the conflict that drives “Juno and the Paycock’s” scrumptious plot.
On the brink of poverty, Mary decides to accept the good graces of grifter Charlie Bentham (James Russell) and this contract with the diabolical and foppish solicitor want-to-be brings the family to financial and systemic ruin. Johnny is killed by Free State supporters and Juno and Mary decide to leave the “Captain” behind and raise Mary’s baby on their own. “It’ll have what’s far better- it’ll have two mothers," Juno assures Mary in a statement far ahead of its time. Neither woman needs Jerry Devine’s misogynist refusal to marry a woman carrying the child of another man. They, like Ireland, are ready for a new future.
The ensemble cast under Charlotte Moore’s punctilious direction breathes honesty and authenticity into O’Casey’s script honoring the playwright’s flair for local color and tradition and making his work powerfully relevant to the contemporary political and social landscape. Each remarkable actor digs into his or her character and mines extraordinary treasure for the audience to not only examine but preserve for future generations to enjoy. Sean O’Casey’s “Juno and the Paycock” is timeless. There will always be Junos who struggle with the strutting peacocks of disinterest and disingenuous affirmations of conscientiousness.
In the midst of conflicts over principles, loyalty, humanity, feminism (the New Woman), and the strife with nature, the Boyle family and their antagonists (the IRA) hold fast to the principles that guide their actions, hoping these principles will somehow rescue them from hopelessness. Mary pleads with her mother to accept her belief that "It doesn't matter what you say, ma - a principle's a principle."
Although O’Casey’s play centers on conflicts and issues specific to the beginning of the twentieth century in Ireland, its important themes are relevant to the present century in United States and the global community - all wounded families whose vitality has been disarmed by struggles within and without. “Captain” Boyle could not have been more veracious: “"Th' whole worl's in a terrible state o' chassis" (Act III). There is hope in this turbulent world and the play it engenders. In the tenement flat stripped of furniture and family, “Captain” Boyle affirms to Joxter (John Keating) “The counthty’ll have to settle itself … it’s goin’ to hell.” The question is whether the countries we pledge allegiance to can settle themselves before even more hell breaks loose.
JUNO AND THE PAYCOCK
“Juno and the Paycock” is presented by the Irish Repertory Theatre (Charlotte Moore, Artistic Director and Ciarán O’Reilly, Producing Director) and is directed by Charlotte Moore.
The cast of “Juno and the Paycock” features J. Smith-Cameron as Juno Boyle, Ciarán O’Reilly as "Captain" Jack Boyle, Ed Malone as Johnny Boyle, Mary Mallen as Mary Boyle, John Keating as Joxer Daly, as well as Ciarán Byrne, Terry Donnelly, Laurence Lowry, Kern McFadden, David O’Hara, James Russell, and Fiana Toibin.
“Juno and the Paycock” has set design by James Noone, costume design by David Toser, lighting design by Brian Nason, and sound design by M. Florian Staab. The Production Stage Manager is Pamela Brusoski and the Assistant Stage Manager is Rebecca C. Monroe. Production photos by James Higgins.
“Juno and the Paycock” will be performed October 9 – December 8 on the Francis J. Greenburger Mainstage of the Irish Repertory Theatre (132 West 22nd Street). “Juno and the Paycock” performs Wednesdays at 3:00 p.m. and 8:00 p.m.; Thursdays at 7:00 p.m.; Fridays at 8:00 p.m.; Saturdays at 3:00 p.m. and 8:00 p.m.; and Sundays at 3:00 p.m. Tickets for “Juno and the Paycock,” priced $55.00 -$65.00, are available by calling the Irish Rep box office at 212-727-2737 or by visiting www.irishrep.org. The running time is two hours with one ten-minute intermission.
Permalink | Posted by David Roberts on Sunday, October 20, 2013
“The Model Apartment” at Primary Stages at 59E59 Theater A
Diane Davis and Kathryn Grody/Photo by James Leynse
“The Model Apartment” at Primary Stages at 59E59 Theater A By Donald Margulies Directed by Evan Cabnet Reviewed by David Roberts Theatre Reviews Limited
One cannot pay off the past. Unless it is confronted and dealt with, it just keeps impacting the present and future. Although Donald Margulies’ “The Model Apartment” seems to deal solely with the detritus of Holocaust fallout, the play is about far more and warrants the current Primary Stages revival of this 1995 OBIE Award winning play at 59E59 Theaters.
Holocaust survivors Max (Mark Blum) and Lola (Kathryn Grody) escape from Brooklyn and their daughter Debby (Diane Davis) in the “middle of the night” hoping to escape not only the ghosts of the Holocaust but the present reality of their suffering in the symbolic personage of Debby. Mr. Margulies’ play is the perfect window into all individuals and systems hoping to achieve a successful separation from past pain – pain that has permeated the present and threatens to unhinge the future. Debby obtains her parents’ new address in Florida and hastily follows then, arriving the same right they settle into the model apartment they must occupy until their own condo is completed.
Debbie is monstrously obese and clearly disturbed in significant ways. In addition to her disturbing presence, she is joined shortly after her arrival by her fifteen-year-old boyfriend Neil (Hubert Point-Du Jour) who is mildly challenged mentally and a further thorn in Max’s side of propriety and peace of mind and an incursion into Max’s retreat into silence relative to his persistent guilt over the trauma of surviving Bergen-Belsen by hiding in the woods, leaving his first wife and their daughter Deborah to die at the hands of the Nazis.
Under Evan Cabnet’s even-handed and punctilious direction, the four actors “skate quite perilously close to the thin ice of trivializing the enormity of the pain and loss of all who have suffered” (Kremer, p. 807). It is this risk-taking that gives their performances and Mr. Margulies’ complicated and diffuse text an engaging competency and dynamism that reflects the universality of humankind’s attempts to similarly trivialize their parallel attempts to “find meaning or justification for their sufferings” (Kremer, p. 807).
Kathryn Grody brings compassion to her role as Lola as this character navigates the mine field of Max’s reclusive mood swings. Ms. Grody’s delivery of Lola’s recurring story about her (imagined?) friendship with Anne Frank at Bergen-Belsen is captivating and eerie. Mark Blum’s Max is a kaleidoscopic portrait of a man unable to move forward spewing his fear on those he cannot understand or embrace. Diane Davis’ “unbearable crescendo of comic horror” (Kremer, p. 806) is a spellbinding performance not soon to be forgotten. Ms. Davis’ Debby resoundingly outshines her portrayal of the deceased specter of her half-sister Deborah although this apparent deficit is more the responsibility of director Cabnet who seems to handle the scenes between Max and the ghost of his daughter Deborah with an unusual reticence. And Hubert Point-Du Jour captures the gritty soul of Debby’s boyfriend Neil whose homelessness counterpoints Lola’s experience in Bergen-Belsen and draws her closer to his ennui and disarticulation.
Ultimately, Lola decides she cannot abandon her daughter and rides with her when she is transported from the model apartment to, presumably, a psychiatric hospital (yet another Bergen-Belsen). Max decides to remain and wallow in the past, denying any engagement with his current family, content to converse (yet again) with the phantasm of his murdered daughter Deborah.
Cheated from “enjoying” a catharsis, the audience shares the dysfunctional weltanschauung of the microcosm of the Holocaust inhabiting the model apartment. “Margulies wisely concludes his story here, leaving any further resolution up to the audience, challenging them to accept that the price everyone must pay for the Holocaust is that there will never be any resolution” (Kremer, p. 807).
[Quotes (other than from the text) are from: S. Lillian Kremer (Editor). “Holocaust Literature: Lerner to Zychlinksy.” Taylor and Francis, 2013. Google Books. ]
THE MODEL APARTMENT
“The Model Apartment” is presented by Primary Stages in association with Jamie deRoy and Berry Feirstein and is directed by Evan Cabnet.
The cast includes Mark Blum, Diane Davis, Kathryn Grody, and Hubert Point-Du Jour.
“The Model Apartment” features a scenic design by Lauren Halpern, costume design by Jenny Mannis, lighting design by Keith Parham, and original music and sound design by Josh Schmidt. The production photos are by James Leynse.
“The Model Apartment” plays a limited engagement through November 1 at Primary Stages at 59E59 Theaters (59 East 59th Street). Performances are Tuesday-Thursday at 7pm, Friday at 8pm, Saturday at 2pm & 8pm, and Sunday at 3pm. There will be a special Wednesday matinee at 2pm on Wednesday, October 30.There is no performance on Wednesday, October 23. Single tickets are priced at $70 for all performances. Tickets may be purchased by calling Ticket Central at (212) 279-4200, online at www.primarystages.org, or in person at the 59E59 Theaters Box Office. Group Tickets (10+) are $49 each for performances through October 13 and $49 each for all performances October 16–November 1. Group sales are available by calling (212) 840-9705, ext. 204. Please visit the website at www.primarystages.org, or call (212) 840-9705 for additional information.
Permalink | Posted by David Roberts on Tuesday, October 15, 2013
“Jericho” at 59E59 Theater B
Kevin Isola and Eleanor Handley/Photo by Carol Rosegg
“Jericho” at 59E59 Theater B Written by Jack Canfora Directed by Evan Bergman Reviewed by David Roberts Theatre Reviews Limited
“Turning and turning in the widening gyre/The falcon cannot hear the falconer; /Things fall apart; the centre cannot hold; / Mere anarchy is loosed upon the world, /The blood-dimmed tide is loosed, and everywhere/The ceremony of innocence is drowned;/The best lack all conviction, while the worst/Are full of passionate intensity.” - William Butler Yeats, “The Second Coming” (1919)
All the characters in Jack Canfora’s “Jericho” have lost their footing. In their post-9/11 world of 2005, things have fallen apart and their moral and emotional centers have failed to hold. Their pre-9/11 ceremony of innocence is long past. Lacking conviction, the best of these characters wrestle with the passionate intensity of the worst among them and the walls of Jericho come tumbling down.
Mired in guilt, Josh (Noel Joseph Allain) and Beth (Eleanor Handley) thrash about seeking redemption and release from their malfeasance surrounding the events of September 11, 2001: Beth told her husband Alec (Kevin Isola) the night prior to 9/11 she “was going to leave him.” The next day, Alec went to work at the World Trade Center and was killed when the South Tower collapsed and disintegrated at 9:59 a.m. On the same day, Josh – also working in the South Tower – pushed his way past two men trying to help a fallen woman on the stairs, refusing to stop and help them. Beth turns to therapy to assuage her guilt and Josh turns to a Zionist-laden commitment to move to Jerusalem and restore a connection to “his community.”
Josh meets Beth at the Thanksgiving dinner hosted by her boyfriend Ethan’s (Andrew Rein) mother Rachel (Jill Eikenberry). Ethan is Josh’s brother and a womanizer. And this is only the short list of the succulent story lines driven by equally delectable conflicts: Rachel wants to move to Florida and sell the family home to Josh and his wife Jessica (Carol Todd). Josh and Jessica are in the midst of a divorce. And Beth thinks her 47-year-old Korean-American female therapist Dr. Kim (Kevin Isola) looks exactly like her 30-something non-Korean-American deceased husband.
Throughout the play, the characters deeply hurt one another only to discover through therapy, self-therapy, divorce, and escape that reality is preferable to delusion. And “Shalom” is preferable to hurt and despair and hopelessness. Health, completeness, harmony, fullness, prosperity, and peace reverse the anarchy that was unleashed on the world after 9/11. Humanity belongs not to some matrix of socio-religious constructs but belongs to a larger community connected by compassion. As Beth affirms at the play’s end, after being able to say “farewell and good-bye” to Alec, we belong to one another. She attests, “I reach them. I reach all of them, and I come to rest on their skin. My life – like a benediction – spreads out over them like a benediction.”
The conflicts in “Jericho” provide the “stuff” for an interesting plot with sufficient twists and turns and surprises to satisfy any audience: Mr. Canfora’s play is well written and multi-layered with complex characters and intriguing plot lines. The ensemble cast, under Evan Bergman’s inconsistent direction, delivers exquisite performances that expose the risks of honesty and commitment and affirm the equally risky business of compassion and forgiveness. After all, it was on the way to Jericho that a man from Samaria stopped to assist a man who was not “in his community.” The pacing is often laborious (especially in the first act) and Mr. Bergman allows the spark between the gifted actors to falter too often. Fortunately the cast still makes the script sizzle when it needs to.
Jessica Parks’ “barricade-like” set allows the remnants of 9/11 to frame the destructiveness of the relationships broken by the disaster and Jill Nagle’s lighting brings into focus the dynamics of fear, flight, and fantasy.
“Jericho” is a complex and challenging play that deserves a look and a future. Plan to see it before it closes shortly on November 3.
JERICHO
“Jericho” is presented at 59E59 by The Directors Company and runs for a limited engagement through Sunday, November 3.
The cast of “Jericho” includes Noel Joseph Allain; Eleanor Handley; Kevin Isola; Jill Eikenberry; Andrew Rein; and Carol Todd.
The design team includes Jessica L. Parks (scenic design); Jill Nagle (lighting design); Tony Award-nominated Michael McDonald (costume design); and John Emmett O'Brien (sound design). The production stage manager is Rose Riccardi. Production photos by Carol Resegg.
The performance schedule is Tuesday – Thursday at 7:15 PM; Friday at 8:15 PM; Saturday at 2:15 PM & 8:15 PM; and Sunday at 3:15 PM. Please note, there are no performances on Thursday, October 17 and Friday, October 18. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $35 ($24.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Thursday, October 10, 2013
“Bronx Bombers” at Primary Stages at the Duke
Richard Topol asYogi Berra and Christopher Jackson as Derek Jeter/Photo by James Leynse
“Bronx Bombers” at Primary Stages at the Duke Written and Directed by Eric Simonson Reviewed by David Roberts Theatre Reviews Limited
“The ghosts of baseball past serve up a feast for the soul in Eric Simonson’s BRONX BOMBERS!”
Reggie Jackson (Francois Battiste) in Eric Simonson’s “Bronx Bombers” is spot on: much of his bombastic rhetoric in the meeting in a hotel room in the Boston Sheraton in 1977 with Yogi Berra, Thuman Munson, and Billy Martin is “a metaphor.” Indeed, Mr. Simonson’s powerful play is an extended metaphor for the rewards of struggle, triumph over adversity, and managing crisis at the crossroads of life.
The lengthy but important first act of “Bronx Bombers” provides the exposition of the play’s dramatic structure. The audience is reminded of the tension between newcomer Reggie Jackson and Yankees Manager Billy Martin (Keith Nobbs) and Yogi Berra’s attempts to defuse the contention and return all parties involved back to the business of baseball. The parallels with Washington bickering and the refusal of Congress to get back to the business of governing are deeply powerful and intensely impelling. Baseball in 1977 was not in crisis because of free-agency: the United States in 2013 is not in crisis because of the Affordable Care Act. Both “franchises” experience crisis because of puerile quarreling and failure to honor their traditions and heroes.
The second act is a tantalizing fantasy sequence which takes place around the Berra’s dining table and is one of the most sensitive and passionate appeals imaginable. Playwright Eric Simonson skillfully utilizes all the rhetorical strategies for persuasion: ethos, pathos, and logos. When the heroic “ghosts of baseball past” join the greats of baseball present, the result is an emotional meltdown on and off stage. Mickey Mantle (Bill Dawes), Elston Howard (Francois Battiste), Babe Ruth (C. J. Wilson), Lou Gehrig (John Wernke), and Joe DiMaggio (Chris Henry Coffey) remind the Berras and the audience of the struggles they had (salary, racism, acceptance), of their triumphs over those adversities, and how they impeded the crossroads that faced them. Their collective history consecrates the importance of teamwork and rehearses with dignity and grace the mantra “friends in need are friends indeed.”
The ensemble cast of “Bronx Bombers” delivers a grand slam making Eric Simonson’s play a winner at the Duke. Christopher Jackson is an energetic Derek Jeter; Keith Nobbs is a frenetic and bombastic Billy Martin; Francois Battiste is a brilliant and combative Reggie Jackson; and Wendy Makkena brings eloquence and empathy to her portrayal of Carmen Berra. Richard Topol could not be more perfect as Yogi Berra as he tries to reconcile tensions between Reggie Jackson and Billy Martin and navigate the changes in major league baseball and in society at large. “Things break apart,” Yogi shares regretfully in the second act’s emotional fantasy sequence. Things aren’t “what they used to be.”
Beowulf Boritt’s set depicts “The House that Ruth Built” as a brooding presence overlooking the demolition of dreams. David C. Woolard’s costumes - including impeccable period Yankee uniforms - and Jason Lyons’ lighting serve both reality and fantasy with craft and discernment.
In the fantasy sequence, Joe DiMaggio leaves the repast and returns in his Yankee uniform to remind his colleagues living and dead that “baseball will always be okay.” One wonders if our beloved nation will always be “okay” unless those who represent the people – like the Yankees’ owners, managers, captains, and players – focus on the future and the commitment it takes to reach that future with dignity and strength. Thurman Munson’s last words before he died in a fiery plane crash were, “Are you guys okay?” That question reverberates over the decades and awaits, even now, a hope-filled response.
BRONX BOMBERS
“Bronx Bombers” is presented by Primary Stages, Fran Kirmser and Tony Ponturo in association with The New York Yankees and Major League Baseball.
The production features Francois Battiste as Reggie Jackson/Elston Howard, Chris Henry Coffey as Joe DiMaggio, Bill Dawes as Mickey Mantle/Thurman Munson, Christopher Jackson as Bobby Sturges/Derek Jeter, Wendy Makkena as Carmen Berra, Keith Nobbs as Billy Martin/Sheldon, Richard Topol as Yogi Berra, John Wernke as Lou Gehrig, and C.J. Wilson as Babe Ruth.
“Bronx Bombers” features Scenic Design by Beowulf Boritt, Costume Design by David C. Woolard, Lighting Design by Jason Lyons, and Original Music and Sound by Lindsay Jones. Production Photos are by James Leynse.
“Bronx Bombers” plays a limited engagement September 20 - October 19 at The Duke on 42nd Street at 229 West 42nd Street, between 7th and 8th Avenues. Performances are Tuesday - Thursday 7:00 p.m., Friday 8:00 p.m., Saturday 2:00 and 8:00 p.m., Sunday 3:00 and 7:00 p.m. There is an added performance Wednesday October 16 at 2:00 p.m. Tickets can be purchased online at Dukeon42.org, by phone at (646) 223-3010 or at the box office. Please visit the website at www.primarystages.org, or call (212) 840-9705 for additional information.
Permalink | Posted by David Roberts on Tuesday, October 8, 2013
“Apartment 3A” at J CITY Theatre at St. Michael’s Church (Jersey City, NJ)
Playwright Jeff Daniels
“Apartment 3A” at J CITY Theatre at St. Michael’s Church (Jersey City, NJ) Written by Jeff Daniels Directed by Sandy Cockrell Preview by David Roberts Theatre Reviews Limited
J CITY Theater the professional theater company located in downtown Jersey City is proving that they’re “Jersey strong” by staging their comeback production on October 11, 2013. The show runs for three weeks with a scheduled closing of October 26th.
J CITY Theater will launch its eighth season by producing “Apartment 3A” written by actor and playwright Jeff Daniels. Daniels is currently starring in HBO’s “The Newsroom” written by Aaron Sorkin. The play is a sardonic romantic comedy that revolves around Annie Wilson, a public television employee who loses her faith in God, men and even PBS. As she goes through romantic trials, she loses her cool on camera during the annual pledge drive – resulting in further chaos for her and co-workers. It's a laugh out loud comedy with some adult themes - so parents might want to consider this rated PG - 13.
“Apartment 3A” will star Sandy Cockrell, Stephen Hope, Randall Marquez and Clay Cockrell. The Stage Manager is Jack Vandewark and Tech Director is Nick Probst. Jacquelyn Bird is the choreographer and Katie Brennan is the production’s acting assistant.
“We are thrilled to be starting our eighth season on a strong note with this rollercoaster production,” said Clay Cockrell, executive producer of J CITY Theater. “We are proud to be part of the Renaissance of Jersey City.” Jersey City has a new, progressive mayor, Steven Fulop, new developments and businesses throughout the city and a thriving arts scene that draws its audience from the entire region.
One year ago on October 27th 2012, J CITY Theater gave their final performance of Regrets Only. It was their most successful production in their seven-year history – the biggest box office draw and greatest audience in attendance. Less than 48 hours later, on October 29th, Superstorm Sandy slammed on shore - bringing devastation to the theater, the producers’ home, and the community.
J CITY Theater vowed to somehow come back from this stronger and better than ever. After months of cleanup and recovery, they are finally back and ready for business.
J CITY Theater (www.jcity.org) is a not-for-profit professional theater company based in Jersey City, New Jersey. It is a founding company of the Hudson County Theatre Alliance (www.hudsonall.org) and has been producing locally since 2006.
Recent productions include Archibald MacLeish’s J.B., Douglas Carter Beane’s As Bees In Honey Drown, and last year’s smash hit: Regrets Only. They are also known for their engaging one act plays (Compression of a Casualty and The Spot) during HCTA’s annual One Acts Festival. J CITY Theater’s mission is to create quality, high energy theater that is told with sophisticated simplicity.
Using the highest of professional standards and the safest of creative environments, J CITY Theater creates quality, high energy and life transforming theater. Founded in 2005 by the husband-and-wife team of Executive Producer Clay Cockrell and Director Sandy Cockrell, J CITY Theater’s focus is always on the actor and the story. Their process is to strip away the extraneous in order to reach the core of the story and then to tell it with sophisticated simplicity.
APARTMENT 3A runs from October 11th through October 26th at The Underground Theater at St. Michaels Church – Hamilton Park 252 Ninth Street, Jersey City, NJ 07302 on the following performance schedule: Wednesdays, Thursdays, Fridays, Saturdays at 8:00 pm. Tickets are $20.00 and can be purchased through www.brownpapertickets.com or www.jcity.org or calling 800-838-3006.
Permalink | Posted by David Roberts on Monday, October 7, 2013
“Blondes Still Have More Fun” - Misty Rowe at the Metropolitan Room
“Blondes Still Have More Fun” - Misty Rowe at the Metropolitan Room Reviewed by David Roberts Theatre Reviews Limited
The star of “Blondes Still Have More Fun” is Misty Rowe’s remarkable story of her forty-plus years in show business and the iconic personalities she worked with and met during that distinguished career. Appearing in a four-show engagement at the Metropolitan Room with actor and singer Cindy Summers and a celebrated four-piece band, Ms. Rowe celebrates her career and the people she met with a delicious smorgasbord of songs from a variety of genres.
There are country, folk, rock, and pop songs along with solo fiddle (Guy Fischetti), solo piano and a mean harmonica solo (Michael Sansonia), and a score of short comedy sketches akin to those on the weekly comedy variety show “Hee Haw” one of the television shows in which Misty Rowe appeared in the 1970s and 1980s.
Highlights of “Blondes Still Have More Fun” are: the “Love Songs” sung by Misty and Cindy including “Your Cheating Heart” (Hank Williams), “Stomp on my Heart” (Mason Williams), and “You Picked a Fine Time to Leave Me Lucille”(Hal Bynum and Roger Bowling); the “Walking Songs” including Steve Steiner’s wonderful bass voice in Johnny Cash’s “I Walk the Line;” “Crazy” (Willie Nelson) and “Sweet Dreams” (Don Gibson” sung with country perfection by Cindy Summers; Misty’s heartfelt renditions of “Candle in the Wind” (Elton John) and “I Wanna Be Loved by You” (Herbert Stothart/Harry Ruby/Bert Kslmer); and Misty and Cindy’s duet in “Diamonds Are a Girl’s Best Friend” (Jule Styne and Leo Robin.
Misty Rowe is a generous and gifted performer who showcases not only her own talent but the formidable talents of her “Always … Pasty Kline” co-star Cindy Summers, and her amazing band of multi-instrumentalists.
BLONDES STILL HAVE MORE FUN - MISTY ROWE AT THE METROPOLITAN ROOM
Misty Rowe will appear at the Metropolitan Room on Friday October 4, 2013 at 7:00 p.m., Saturday October 5, 2013 at 7:00 p.m. and 9:30 p.m., and Sunday October 6, 2013 at 7:00 p.m. The Metropolitan Room is located at 34 West 22nd Street (between 5th and 6th Avenues) and is easily accessible by public transportation. There is a $30.00 per person Music Charge and a Two Drink Minimum with a $5.00 discount for MAC/Industry Members. For further information visit http://metropolitanroom.com/
Permalink | Posted by David Roberts on Sunday, October 6, 2013
“Lady Day” at the Little Shubert Theatre Written and Directed by Stephen Stahl Reviewed by Joseph Verlezza Theatre Reviews Limited
“Lady Day,” the musical currently playing at the Little Shubert Theatre, opens with the band and Billie Holiday’s manager Robert (David Ayers) waiting for the star’s late arrival for the final rehearsal for that night’s concert at a London Theatre. What is an annoyance for the band becomes a treat for the audience when the quartet decides to rehearse “Rhythm Is Our Business,” instantly setting the tone and mood for what is to come. Although these polished musicians are excellent with a well-crafted style and fine technical skill, their performance is no barometer of future proceedings. Enter Dee Dee Bridgewater as Billie Holiday with the energy of a storm, just like the one producing the pouring rain the audience sees through the open loading dock door through which she enters. Her powerful persona, full of false excuses for her late arrival, explores her vulnerability before she decides to face the music, conquer her fears, take charge, and dazzle us with an up tempo version of “A Foggy Day In London Town.” As she continues to rehearse the infused songbook, the audience realizes that it is her instinct and her ear that control the unique phrasing and perfect pitch which has become universally recognizable.
It is when Billie Holiday transcends time and space, intoxicated not only with drugs or alcohol but with the past, that truth bears all and her tortured soul is exposed. When Ms. Bridgewater explores “Lady Sings the Blues” and the haunting “Strange Fruit,” she embodies their spirit with the utmost accuracy of the unresolved painful memories. Sober, this legend was full of fear and rejection yet vocally strong, confident and precise with a dynamic technical prowess. Under the influence she was honest, pure, and deliberate with a soul that connected to the music and a heart that created the tempo. It is truly remarkable that Ms. Bridgewater is capable of capturing the same honest struggle, filled with intense emotion, stunning vocal authority and exquisite tonal quality. She is undeniably brilliant.
In the second act - which is the concert that night - she enters and informs the audience of her intoxicated condition and her intentions of continuing the performance; she also recalls some personal events from her past. Hearing these sometimes tragic tales, the audience’s connection to the endearing “God Bless the Child” and the heart wrenching “Good Morning Heartache” is inevitable. Mirroring her tumultuous life, she brings the audience back up with a wonderful rendition of “What A Little Moonlight Can Do” and sentimental “Violets for Your Furs.” It is an intriguing story as each song turns another page and reveals another facet of this jazz legend coined “Lady Day.”
Dee Dee Bridgewater holds nothing back in her tour de force performance as she chooses to become Billie Holiday, never relying on impersonation, rather reaching into her own soul to understand and deliver accurate content, without false interpretation. Musical Director Bill Jolly is outstanding on piano as he leads his extremely talented musicians through an evening of his compelling arrangements. All said and done, this show is all about Billie Holiday and is a must see fitting tribute to the jazz icon that will leave you wanting more.
LADY DAY
“Lady Day” is presented by Misty Road Productions LLC. (Thomas Gentile) and is directed by Stephen Stahl.
The cast of “Lady Day” includes David Ayers, Dee Dee Bridgewater, James Cammack, Jerome Jennings, Neil Johnson, Bill Jolly, and Rafael Poueriet.
Multi-award-winning set designer Beowulf Boritt, along with noted costumes designer Patricia A. Hibbert, and acclaimed lighting designed by Ryan O’Gara head the design team along with Jason Crystal designing sound and DIVE designing video projections. The production photos are by Carol Rosegg.
Performances are Tuesday at 7:00 PM, Wednesday at 8:00 PM, Thursday at 7:00 PM, Friday at 8:00 PM, Saturday at 2:00 and 8:00 PM, and Sunday at 3:00 and 7:00PM. Tickets, from $85.00 and $95.00 (plus $2 facility fee) are available online at Telecharge.com or by calling 212-239-6200. Little Shubert Theater Box Office opens daily at 12 noon. Visit “Lady Day” on the web www.ladydaythemusical.com, on Facebook.com/LadyDayTheMusical; or follow on Twitter.com/ladydaymusical.
Permalink | Posted by David Roberts on Thursday, October 3, 2013
“Bike America” at the Theatre at St. Clement's
“Bike America” at the Theatre at St. Clement's By Mike Lew Directed by Moritz von Stuelpnagel Reviewed by David Roberts Theatre Reviews Limited
“It was the ghost of rationality itself ... This is the ghost of normal everyday assumptions which declares that the ultimate purpose of life, which is to keep alive, is impossible, but that this is the ultimate purpose of life anyway, so that great minds struggle to cure diseases so that people may live longer, but only madmen ask why. One lives longer in order that he may live longer. There is no other purpose. That is what the ghost says.” ― Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values
Just as Penny, Rorie, Annabel, Ryan, and Tim Billy make several significant stops on their bike trip from Boston to the west coast, “Bike America” makes several significant stops on its way to its dramatic climax, falling action, and resolution. Although a variety of interesting conflicts drive a variety of interesting story lines, Mike Lew’s play, like its protagonist Penny, never seems to find itself. Interestingly, that is not in itself a negative thing. Mr. Lew’s play perfectly counterpoints the “millennial moments” Penny experiences as she attempts to “drop down on some other life” than her own.
Penny’s (Jessica DiGiovanni) companions on the Bike America tour cross-country try anything and everything to convince her to accept herself, make deep connections, and begin to live. Penny can handle connections without commitment but when Ryan (Tom White) and Tim Billy (Landon G. Woodson) want more than casual sex or flirting, Penny flips out and shuts down. And when her “boyfriend” Todd (Vandit Bhatt) chases her down with his scooter, Penny melts down with another “millennial moment.”
Even married couple Rorie (Melanie Nicholls-King) and Annabel (Marilyn Torres) cannot penetrate Penny’s defenses. These two women get married in every city they visit just to affirm the importance of same-sex marriage and they invite Penny to one of these weddings in Arizona a state that does not recognize same-sex unions. Seeing their struggle against non-acceptance and their deep love does not convince Penny she needs to love in order to live. Once again, she is seen at the brat stuck in a generational mélange of failed values.
Ultimately, Penny refuses to own the millennial brat moniker. She confesses to Van Man (David Shih) that she is running to something, not from something. Her refusal is heartfelt and authentic: “I need to move, okay? I wish I could settle down like they want but I have to lead an examined life. And that’s not just a childish notion. That’s an inherently American notion that goes back for hundreds of years, so screw you for saying I’m having a “millennial moment.” Like the narrator in Robert M. Pirsig’s “Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values,” Penny discovers that the journey itself is the solution: the ultimate purpose of life is simply to keep alive. Unfortunately, Penny’s realization comes too late.
The audience knows from the beginning that Penny will be killed by an asleep-at-the-wheel trucker when she decides to go off on her own. Before she departs, she tells Van Man, “Look, Man, just stop. I have to go down this road. On my own. Even if there’s nothing down there I have to go see for myself. You got your journey and this one is mine now.” In a post-death soliloquy, Penny expresses regret about the past and wishes things had been different: “And I felt these waves of regret at being a fuckup. And I felt these waves of regret at all the time I spent looking outwards, all that deflection when I should have just loved and lived. And I could have loved. Anyone. And I could have lived. Anywhere. Anywhere down that 4,000 mile expanse. There were 4,000 Pennies all down that route and yet I had to go and pick that one.”
The multi-ethnic cast of “Bike America” is just perfect. Each actor brings her or his character to an authentic reality. Under Moritz von Stuelpnagel’s brilliant direction, the cast effectively portrays one twenty-something’s journey to discovery, a discovery that although redemptive is sacrificial. Hopefully Penny’s cathartic death enables her friends and boyfriend re-examine their commitments and life choices and enables the audience to do the same.
Penny’s response to Annabel sums up the quest for meaning for all generations: “And you. You want me to love and embrace connection? Don’t you know I’d do anything to feel love like you do? But right now I don’t feel connected to any of you, I’m sorry, I don’t. And I know that’s my fault and I know that that’s terrible and I probably don’t even deserve love but I just want the space to figure this out on my own is that really too much to ask?” Mike Lew’s “Bike America” gives the audience the space to begin that important journey of discovery and is a remarkable gift from the Ma-Yi Theatre Company.
BIKE AMERICA
BIKE AMERICA has a cast featuring Vandit Bhatt, Jessica DiGiovanni, Melanie Nicholls-King, David Shih, Marilyn Torres, Tom White and Landon G. Woodson.
BIKE AMERICA has set design by Andrew Boyce, costume design by Melissa Schlachtmeyer and Amy Pedigo-Otto, lighting design by Matthew Richards and sound design by Jill BC Du Boff. David S. Cohen is production stage manager. The production photos are by Web Begole.
Scheduled through October 20, BIKE AMERICA will perform Tuesdays at 7:00 p.m., Wednesdays through Saturdays at 8:00 p.m. and Sundays at 3:00 p.m. Tickets are $30.00-$35.00 and can be reserved by calling Theatermania at 212 352 3101 or online at www.ma-yitheatre.org.
Permalink | Posted by David Roberts on Tuesday, October 1, 2013
“A Lady Is Waiting” at the cell (A Twentieth Century Salon)
Fiana Toibin as Doris in "A Lady Is Waiting" - Photograph by Matthew Marino
“A Lady Is Waiting” at the cell (A Twentieth Century Salon) By Anto Nolan Directed by Laurence Lowry Reviewed by David Roberts Theatre Reviews Limited
There are at least fifty ways to leave your lover – or your spouse (Paul Simon). Doris’ newfound friend suggests the forgive-and-forget approach, the time-to-move-on mantra. Doris takes a more direct approach, as might her deceased aunt Claire: Doris burns the house down when she discovers her husband Joseph, Sr. left her for her newfound friend’s male fiancé. This decision landed her in hospital until she recovered from her burns and later in sanatorium for obvious reasons.
Doris (Fiana Toibin) recounts the house-warming event after disclosing her circuitous route to the sanatorium from childhood through marriage to the present as she awaits the arrival of Joseph, Jr. who is apparently coming to pick her up and take her home. As she rustles through her suitcase, Doris eventually discloses that she has been institutionalized for two years and practically abandoned by her two adult sons – in fact; one of them, Joseph Jr., was the one who signed her into the facility from which she envisions no escape.
Broadway veteran Fiana Toibin chomps down onto Anto Nolan’s script and does not release it until she has found every dramatic morsel it contains: her brilliant performance manages to cull even more than might be evident in the writing. She gives the audience a Doris who, like her forebears institutionalized by husbands for “hysterical” behavior (like crying after breaking a plate), has been warehoused for being “overly emotional.” Her discovery that her husband is gay is just the last in a string of events that have left her demoralized, unappreciated, and starving for unconditional and non-judgmental love.
Doris’ family might not come to pick her up any time soon but audiences would come back non-stop to see Ms. Toibin command the small stage at the cell (or any stage) with her remarkable blend of craft, honesty, and humor.
A LADY IS WAITING
Anto Nolan’s “A Lady Is Waiting” is presented by Rafter’s Road Theatre Company and LAF Theatre Company in association with the 1st Irish Festival’s Next Generation Series. It is performed by Fiana Toibin and directed by Laurence Lowry.
The creative team includes Anto Nolan (Set and Sound Design), Michael O’Connor (Lighting Design), and Fiana Tobin (Costume Design). Charles C. Casano is Production Stage Manager and Matthew Marino is the Photographer.
All performances are at the cell, 338 West 23rd Street (between 8th and 9th Avenues) on the following schedule: Sunday September 29th at 7:00 p.m. Tickets are $18.00 and can be purchased by calling 212-868-4444 or visiting www.1stirish.org
Permalink | Posted by David Roberts on Sunday, September 29, 2013
“A Lady Is Waiting” at the cell (A Twentieth Century Salon)
“A Lady Is Waiting” at the cell (A Twentieth Century Salon) By Anto Nolan Directed by Laurence Lowry Reviewed by David Roberts Theatre Reviews Limited
The final performance of Anto Nolan’s “A Lady Is Waiting” takes place on Sunday September 29th at 7:00 p.m. Do all you can to see Fiana Toibin’s stellar performance as Doris, the broken but remarkable lady in waiting for wholeness and redemption. The review will follow.
A LADY IS WAITING
Anto Nolan’s “A Lady Is Waiting” is presented by Rafter’s Road Theatre Company and LAF Theatre Company in association with the 1st Irish Festival’s Next Generation Series. It is performed by Fiana Toibin and directed by Laurence Lowry.
The creative team includes Anto Nolan (Set and Sound Design), Michael O’Connor (Lighting Design), and Fiana Tobin (Costume Design). Charles C. Casano is Production Stage Manager and Matthew Marino is the Photographer.
All performances are at the cell, 338 West 23rd Street (between 8th and 9th Avenues) on the following schedule: Sunday September 29th at 7:00 p.m. Tickets are $18.00 and can be purchased by calling 212-868-4444 or visiting www.1stirish.org
Permalink | Posted by David Roberts on Sunday, September 29, 2013
“The International” at the cell (A Twenty First Century Salon)
“The International” at the cell (A Twenty First Century Salon) By Tim Ruddy Directed by Christopher Randolph Reviewed by David Roberts Theatre Reviews Limited
The recent chemical warfare waged by Syrian President Bashar al-Assad against his own people is a graphic reminder of how indiscriminate war is and how equally indiscriminate those who wage war are. Playwright Tim Ruddy uses the July 1995 genocide at Srebrenica to underscore what happens when innocent people are caught in the crossfire of conflict and are even targeted for extinction as the boys and men at Srebrenica were. Ruddy’s “The International” views the genocide from three distinct points of view: first from that of Irena Hasanovic a Muslim woman living in the area of incursion; second from that of Hans a member of the International forces charged with protecting the locals from the Army of Republika Srpska (VRS); and finally from the point of view of Dave a young truck driver who is watching the genocide play out live on television at his Los Angeles home and local bar. All three are hedging their bets on a felicitous outcome in real time.
Dave is down on his luck and in big trouble with his wife. His entire extended family is staying at his apartment, headed for the Disneyland Resort. Dave does not have the one-thousand dollars needed to take his wife and daughter to the theme park. So Dave joins his loser relatives in a bet that the VRS will be successful and murder the locals: his relatives believe that the United States would never let that happen. But Dave is not alone in the gambling game. Irena is betting that my giving herself to the VRS soldiers overnight she will spare her son’s life. Hans is hanging onto the hope that he can make a difference in the outcome of the attack and head safely back home..
Unfortunately, Dave is the only perceived “winner” here. The VRS wins, the United States never intervenes, and Hans is helpless to stop the incursion and the genocide. Dave wins the cash and heads off to the Disneyland Resort. Obviously this apparent win is temporary since Dave ultimately loses everything including his sense of worth and his integrity. Neither Irena nor Hans have similar “luck.” After giving herself to the soldier all night long, Irena’s son is shot in the face by his non-Muslim school teacher. And Hans does not get airlifted out of danger but ends up killing a young VRS soldier.
Carey Van Driest delivers a riveting performance as Irena. She understands every nuance of her character and develops that character with remarkable craft. Ms. Driest has taken the time – as one would expect – to know her monologue without referring to the script. Oddly, all three actors have the script in front of them on music stands. There is such power in delivering Tim Ruddy’s brilliant script without reading it. Ted Schneider also delivers a strong performance as Dave; however, he often needs to refer to the script in his monologue. Unfortunately, the director of the piece Christopher Randolph who plays Hans heavily depends on the script and rarely can deliver lines without holding pages of the script in his hands. “The International” is a powerful and life-changing piece of theatre and should be performed without script. There might be justification for the dependence on the script; however, this should be clearly noted in the program.
There is some business in front of a Pollock-like image in the beginning and at the end of the play which needs some directorial attention in order to have it make more sense. Whatever it is supposed to be, the action here pales in comparison to the text of “The International,” despite the performance being compromised by lack of memorization. Ruddy’s play makes clear the senselessness of war and the callousness of those who make war. To have a political chain of command necessary to save lives is simply nonsense. And to be able to watch live on television human beings murdered is demonic.
THE INTERNATIONAL
Tim Ruddy’s “The International” is presented by Ranach Theatre in association with the 1st Irish Festival’s Next Generation Series. It is directed by Christopher Randolph.
The cast includes Carey Van Driest (Irena Hasanovic), Ted Schneider (Dave), and Christopher Randolph (Hans).
The creative team includes James Maloof (Set Design) and Michael O’Connor (Lighting).
All performances are at the cell, 338 West 23rd Street (between 8th and 9th Avenues) on the following schedule: Saturday September 28th at 9:00 p.m. and Sunday September 29th at 4:00 p.m. Tickets are $18.00 and can be purchased by calling 212-868-4444 or visiting www.1stirish.org
Permalink | Posted by David Roberts on Saturday, September 28, 2013
“Natural Affection” at the Beckett Theatre at Theatre Row
Photo by Marielle Solan Photography
“Natural Affection” at the Beckett Theatre at Theatre Row By William Inge Directed by Jenn Thompson Reviewed by David Roberts Theatre Reviews Limited
If one of TACT’s missions is to discover and produce lost plays, their endeavors have reached a significant level of success in their recent production of William Inge’s “Natural Affection” which has not been seen in New York City since its short 1963 run at the Booth Theatre. The significant themes of this remarkable play are precisely the themes of the twenty-first century global community. This is the perfect time for a production of “Natural Affection.”
When the natural predilections between human beings become arrested or distorted, the results can be as mild as a casual insult or as catastrophic as the loss of ego strength and a psychological meltdown. William Inge’s transcendent psychological thriller, currently being resurrected by TACT at the Beckett Theatre, expresses with explosive wonder what happens when the natural affection between Donnie Barker (Chris Bert) and his mother Sue Barker (Kathryn Erbe) wanders into unnatural territory: Cold War escalates into oedipal meltdown.
When Donnie returns from reform school, all he wants is a deep reconnection with his mother who gave him up for adoption after his father abandoned him and his mother shortly after birth. Or, perhaps, Donnie wants more. Inge’s play is far ahead of its time and carefully dissects the complicated motivations of all of the play’s characters as they attempt to navigate the troubling waters of their psychological malaise. The strength of Inge’s work lies in his ability to create strong characters whose internal conflicts and their conflicts with others and the world are authentic and provocative. Donnie, for example, never had the opportunity to resolve his oedipal feelings for his mother and discovers that such resolution in the present is laden with conflict. His mother no longer wants his affection and her boyfriend is too immature to handle any relationship between Sue and her son.
No one seems happy in “Natural Affection” and with good reason. Chicago’s urban wasteland of “ugly black buildings” fails to nurture Sue’s desires for independence and freedom from sexual stereotypes that limit her prospects for fulfillment and happiness. This setting is a trope for the repressive nature of America’s Cold War weltschmerz and malaise. Kathryn Erbe and Alex Beard (Bernie Slovenk) handily portray a couple mismatched not only in earning ability but also in their understanding natural affection. The important conflict between them could be more carefully explored by these actors so that Bernie’s shattered ego and his abrupt departure and Sue’s subsequent meltdown and rejection of Donnie could be more explosive.
Despite the need to have a different pacing in the two acts, director Jenn Thompson could quicken the pace in the first act. The important conflicts between Bernie Slovenk and Donnie Barker are not developed successfully and, as a result, the plot that is driven by those conflicts is sometimes thin. Actor Chris Bert (Donnie) seems to want and need more from actor Alec Beard (Bernie) but their chemistry – despite being TACT members – seems to be lacking here.
John Pankow’s (Vince Brinkman) monologue in Act II after his character awakens from a drunken stupor is nothing short of brilliant. Vince becomes the spokesperson for William Inge’s mid-twentieth century Cold War angst and outrage. “Life is miserable,” Vince tells Bernie. “Everything is ugly. There is nothing I like at all.” These sentiments perfectly match the angst and outrage of the twenty-first century, particularly reflecting the apprehension of the Millennial Generation and those younger: “We don’t think we’re gonna last. [We] don’t know how to live.” Also compelling (and relevant currently) is his concern that “it is hard for two men to show how they like each other.”
Eve Bianco delivers a chillingly powerful performance as the party guest of the Brinkmans when she wanders into Donnie’s apartment after his mother tells him he cannot stay with her and that he is “a worthless child [she] never wanted in the first place.” Ms. Bianco’s here unnamed character (unnatural affection is often nameless) is attracted to the younger Donnie and does all she can to seduce him. Her mistake is to taunt him with “Come to mama,” especially after Donnie’s mother rejects him and runs after Bernie. Chris Bert’s portrayal of the enraged Donnie is mind-shattering and the audience is aware of how powerfully his character’s homicidal rage has affected him. Victoria Mack’s subtle caress is as powerful in curtain call as is her performance of Clair Brinkman during the play.
Obviously, the issues between Donnie and his mother are archetypes for the deeper lack of natural affection between all persons, between humanity and the environment, and between nation-states. William Inge reminds the audience in graphic and disturbing ways what results when affections that are natural are replaced by affections that are artificial or unnatural. At the play’s end, one realizes the irony in Sue’s pronouncement at the close of the first act: “Everyone’s going to be satisfied.” Everyone is, indeed, satisfied; however, that gratification comes at a very high price. William Inge proffers a haunting warning to present day America and the rest of the global community. This is a powerful play which will have a promising future.
NATURAL AFFECTION
Directed by TACT Co-Artistic Director Jenn Thompson, the cast includes TACT Company Members Alec Beard, Eve Bianco, Victoria Mack and Guest Artists Tobi Aremu, Chris Bert, Kathryn Erbe and John Pankow.
The creative team is comprised of John McDermott (sets), David Toser (costumes), Mary Louise Geiger (lights), Toby Algya (sound), David Anzuelo (fight direction) and Lauren Madden (properties). Jack Gianino is Production Stage Manager and Kelly Burns is Assistant Stage Manager.
“Natural Affection” plays the following performance schedule at the Beckett Theatre at Theatre Row: Tuesday, Wednesday, and Thursday at 7:30 p.m., Friday at 8:00 p.m., Saturday at 2:00 & 8:00 p.m., and Sunday at 2:00 p.m. Tickets are $20 - $58.00 and are available by visiting www.telecharge.com or calling (212) 239-6200. Tickets are also available at the Theatre Row box office, 410 West 42nd Street between 9th & 10th Aves.
Permalink | Posted by David Roberts on Friday, September 27, 2013
“The Morons” at the cell
“The Morons” at the cell By Dan McCormick Directed by Christopher Scott Reviewed by David Roberts Theatre Reviews Limited
Imagine Arthur Miller’s Loman family: Willy, Linda, Biff, and Happy. Now add Edward Albee’s Martha and George and their “son” to the mix. Finally, append Shakespeare’s thoughts on old age from “As You Like It” beginning with “All the world’s a stage” and concluding with “Sans teeth, sans eyes, sans taste, sans everything.” The resulting blend resembles something close to Dan McCormick’s play “The Morons” currently running at the cell as part of the 1st Irish Festival’s Next Generation Series.
Utilizing the extended metaphor of creating a reality television series called “The Morons,” Mr. McCormick tackles the weightier issues of economic recovery post the 2008 mortgage crisis, dysfunctional families, joblessness, addiction, infidelity, sexual identity, and (yes) texting.
Like Willy, The Father (Steve) is a salesman whose job is unfulfilling. He does not like the world around him anymore. Like Martha, The Mother (Barbara Suter) prefers the affections of a man other than her husband and prefers her Tanqueray gin to the more challenging gig of mothering. And like George and Martha’s phantom “son,” Billy (Timothy Mullins) might as well exist only his parents’ minds: they rarely see him or rarely interact with him. All three escape from the tatters of their reality by having sexual encounters with the Millers (including with the family dog). Given the issues of sexual identity (is the Father gay as his wide suspects?) it would have been better if both parents had sexual trysts with Mr. Miller. It would also have been much funnier.
The Father’s passion for winning the reality show contest has sufficient energy to drive the plot of “The Morons.” However, the play sometimes seems overlong despite McCormick’s skill at comedic writing. The creation of the audition tape – including confessions, talent, and the theme song – provides considerable humor. Having young teen Billy the same age as his parents is stark and introduces the more dark humor that pervades the piece.
In order to achieve the prize of the reality show, The Father broadcasts his family’s interactions on a large screen mounted outside the house: there are cameras installed throughout the home. Remaining unabashed, he and the rest of the family play out the drama to its predictable end: they are willing to die in order to star in a reality television show. Their death is, of course, redemptive and their blood is the spilled blood of the Middle American family facing extinction at the beginning of the 21st century.
Under Christopher Scott’s inventive direction, the cast succeeds in bringing life to their characters and they never lose focus on the message Dan McCormick is trying to offer the audience. They risk being the ultimate morons so that we might achieve something more meaningful in our remaining days.
The delightful music from the beloved Looney Tunes cartoons counterpoints the sadness of the Father’s final line from “As You Like It.” Aging is not pleasant in a world unprepared to deal creatively with that process. Our attempts to make sense of life might be moronic but we do the best we can in an often equally moronic world. As Jaques proffers, “All the world's a stage,/And all the men and women merely players:/They have their exits and their entrances;/And one man in his time plays many parts,/His acts being seven ages.” Sans laughter, “The Morons” gives us the opportunity to play out the rest of our seven stages with hope rather than despair. Perhaps the Millers’ double suicide and the morons’ death and suicide will not be without meaning.
THE MORONS
Dan McCormick’s “The Morons” is presented by The New Millennium Theatre Company in association with the 1st Irish Festival’s Next Generation Series. It is directed by Christopher Scott.
The cast includes Steve Hayes (Father), Barbara Suter (Mother), and Timothy Mullins (Billy).
The creative team includes Katy Moore (stage manager); Jon Ospa (audio coordinator); O Tomas Bell (music coordinator); Amanda Tracy (graphic designer); Eldon Hernandez (web designer); and June Rachelson-Ospa (advisory chair). There were no program credits for set, lighting, or costume design.
All performances are at the cell, 338 West 23rd Street (between 8th and 9th Avenues) on the following schedule: Friday September 27th at 9:00 p.m.; Saturday September 28th at 4:00 p.m.; and Sunday September 29th at 9:00 p.m. Tickets are $18.00 and can be purchased by calling 212-868-4444 or visiting www.1stirish.org
Permalink | Posted by David Roberts on Thursday, September 26, 2013
“Shakespeare’s Sister” at the Ellen Stewart Theatre (La Mama)
“Shakespeare’s Sister” at the Ellen Stewart Theatre (La Mama) Directed and Adapted by Irina Brook Reviewed by David Roberts and Joseph Verlezza Theatre Reviews Limited
Something is cooking at the ever so edgy and inventive La Mama Ellen Stewart Theatre – Irina Brooks’ adaptation of “Shakespeare’s Sister” – and it is absolutely delicious.
Bloomsbury Group writer Virginia Woolf imagined the existence of Shakespeare’s sister while she was preparing a lecture on women and fiction, a somewhat ambiguous subject. Woolf wrote, “The title women and fiction might mean women and what they are like; or it might mean women and the fiction that they write; or it might mean women and the fiction that is written about them; or it might mean that somehow all three are inextricably mixed together.”
Irina Brook’s redemptive and cathartic adaptation of Woolf’s lecture is a stimulating, precise, and provocative re-imagining of the text and provides a riveting portrait of five different women as they share deep personal feelings about what it means to be a woman and a mother and a writer. The definition of home morphs from simply providing a place of comfort for men and boys to a place for the pursuit of self-awareness.
The intriguing conversation is delivered as a lecture (as was the original) as the women prepare a communal meal, have tea, and drink wine in set designer Noelle Ginefri’s perfectly lit country kitchen. Vegetables are washed and sliced as secret thoughts are revealed: the stew simmers as sexually charged fantasies erupt. Clothes are carefully folded as the amazing insights into a woman’s mind are neatly put into place. These five women are authentic and honest as they reveal the contents of their souls, sing their song, touch the heart and allow the audience member to surround them with love.
Under Irina Brook’s inspired and perceptive direction, Nicole Ansari, Winsome Brown, Joan Juliet Buck, Sadie Jemmett, and Yibin Li become a kaleidoscopic composite of Virginia Woolf exemplifying that the “heat and violence of the poet” is evident in a woman’s body. “Shakespeare’s Sister” is a life-changing experience. Plan to stay for dance, merriment, and freshly-made vegetable soup seasoned –as is the production – just right.
SHAKESPEARE’S SISTER
Performances will take place September 26-28 and October 3-5 at 7:30pm; and September 29 and October 6 at 5:00pm.
Tickets, $25 ($20 for students and seniors) can be purchased at www.lamama.org, 212-475-7710, or in person at the box office. Through La MaMa’s new 10@$10 initiative, ten $10 tickets will be available to every performance on a first-come, first-served basis. In continuing tough economic times, La MaMa wants to make it possible for anyone to see live shows for less than the price of a movie ticket. Specifically, La MaMa aims to ensure artists can see each other’s work, and to foster young audiences experiencing daring performances.
The creative team includes assistant director Geoffrey Carey, set designer Noëlle Ginefri-Corbel and lighting designer Thibault Ducros.
Permalink | Posted by David Roberts on Wednesday, September 25, 2013
“McGoldrick’s Thread” at Theatre 80
“McGoldrick’s Thread” at Theatre 80 Book by Marianne Driscoll Lyrics by Marianne Driscoll and Eliot Riskin Music by Ronnie D’Addario Irish Dance Music by Patrick Mangan Reviewed by Joseph Verlezza Theatre Reviews Limited
One of the many facets of Origin’s 1st Irish Festival is the little jewel “McGoldrick’s Thread” which shines with family values that are steeped in Irish tradition. It carries a heartfelt message that is timeless and delivers it with the help of some high spirited Irish dancing and sentimental songs. The story is simple with an old theme. There can be some definite improvement in the book and dialogue, but they serve the purpose and the story captures the audience in an endearing way. The music and lyrics could soar with a more sophisticated approach to vocal and instrumental arrangements but for now they lack the necessary complexity to achieve the maximum dramatic punch. The entire cast transcends the material and provides the necessary elements for a fine evening of entertainment that is filled with pride in the Irish heritage.
Elizabeth West captures the hardships of an Irish immigrant and the love of family sincerely with honest facial expression at every turn as she yearns for her homeland. Peter Cormican delights the audience with his pure vocal tenor and well defined character. Paul Nuget, John Charles McLaughlin and Conor McIntyre provide great comic relief and handle their close harmonies with ease producing a mesmerizing sound that is bright and beautiful. Casey Murray as Magee delivers a believable performance supported by some excellent dancing. The driving force of the evening are Garrett Coleman and Jason Oremus with their incredible dancing that is precise, powerful and packed with pride. The entire ensemble is tight and well disciplined, which allows the audience to settle into a comfort zone, becoming part of the family, part of the traditions and a chance to share in the encompassing pride. Go share their emotional journey.
MCGOLDRICK’S THREAD
MCGOLDRICK’S THREAD stars Casey Murray as Magee, Elizabeth West as Marion, Peter Cormican as PJ, Paul Nugent as William, Conor McIntyre as Shane, John Charles McLaughlin as Thomas, Garrett Coleman as Eddie Callahan, Jason Oremus as Mr. Duffy and Jesse Driscoll as Golden Fiddle. The ensemble includes Mairead Brown, Declan Byrne, Jessica Byrne, Sean Crosby, Hayleigh Jusas, CiaranO'Brien, Sheppard Somers, and Natalie Vestergom.
The production, which was incubated at the cell: A Twenty First Century Salon™ (Nancy Manocherian, Founding Director; Kira Simring, Artistic Director) features scenic design by Carl Tallent, costume design by Rachel Guilfoyle (with additional Irish Dance Dress Design by Mary Collins and Danielle O’Leary and Dream Dance Costume Artwork Designed and Painted by Jane Rubinstein), and lighting design by Michael Megliola. Thomas Kennedy is the sound designer, Micah Havertape is the audio engineer, Joe Barros is the choreographer, Brian Reager is the assistant director, Christian Steckel is the assistant stage manager and Mackenzie Meeks is the stage manager.
MCGOLDRICK’S THREAD plays the following schedule: Tuesday, September 24 at 7pm; Wednesday, September 25th at 7pm - SOLD OUT; Saturday, September 28th at 2pm - SOLD OUT; Sunday, September 29th at 2pm - SOLD OUT; and Sunday, September 29th at 6pm - SOLD OUT. Tickets are $18 and are currently sold-out, additional performances may be added. Running Time: 90 minutes.
Permalink | Posted by David Roberts on Tuesday, September 24, 2013
“Fetch Clay, Make Man” at the New York Theatre Workshop
“Fetch Clay, Make Man” at the New York Theatre Workshop By Will Power Directed by Des McAnuff Reviewed by David Roberts Theatre Reviews Limited
The ancient Mesopotamians, the ancient Egyptians, the African peoples of Silluk and Pangwe, the Amerindians, the Karens of Burma, and the Incas all have folkloric tales about the creation of humans from clay, earth, or mud. Their deities, in short, fetched clay and made humankind. Will Power’s “Fetch Clay, Make Man” chronicles the making of the man Muhammad Ali from the clay of companionship with Hollywood star Stepin Fetchit. Both men were unpopular at the time of Ali’s 1965 contest with Sonny Liston in Lewiston, Maine. Critics complained that Lincoln Perry’s Stepin Fethit – “the laziest man in the world” – was not only racist but ultimately subversive. Critics affirmed that Ali’s ego and bravado were not what the African American community needed or wanted.
This lack of popularity made these two extraordinary men the perfect pair of fighters: Lincoln Perry wanted to make a movie to authenticate himself as an actor and Ali wanted to gain the respect of not only his community but the world.
“Fetch Clay, Make Man” is an impressive extended metaphor for creation: the creation of nation-states; the creation of humankind; and the creation of a personal or corporate image. This remarkable play also proffers what is needed to accomplish that creation. In order to know what it means to “win,” Lincoln Perry admonishes Ali that he needs to know what it means “to lose, so you see it, know it, and rule over it.” Creation, after all, is ultimately about “having dominion” over that which is created. And having dominion requires deep and enduring honesty. One cannot wear disguises: “If you wear a mask long enough,” proclaims Lincoln Perry, “you cannot take it off.”
The “classroom” for these lessons on creation takes place on Riccardo Hernandez’ glaringly white set, even further brightened by Howell Binkley’s spot-on lighting. Ali’s dressing room becomes the boxing ring where he and Perry exchange one phantom punch after another and in the process discover they “do not always learn the lessons [they] want to learn.” It is on this set that Ray Fisher (Muhammad Ali), K. Todd Freeman (Stepin Fetchit), John Earl Jelks (Brother Rashid), Richard Masur (William Fox), and Nikki M. James (Sonji Clay) deliver distinguished performances.
The disparate conversations of their characters, more surreal than corporeal, transcend religion, nation-state and politics and focus on the deeper issues of relationship and personhood. The actors tear into Will Power’s script and expose the glaring differences between the white majority and the black minority. Brothers Jacob and David X (Anthony Gaskins and Jeremy Tardy respectively) tread their narrow black paths as they surround, exit, and enter the white playing space of Ali’s anteroom.
The only difference between the ancient creation myths and Mr. Power’s myth of the making of a man is that his creation has an audience surrounding the playing area on three sides, each member of the audience having a unique point of view. Muhammad Ali wanted desperately to learn how Lincoln Perry survived a lifetime of setbacks. Unfortunately, old masks, the concern for nation-states, and issues of race won out. Perry leaves Ali’s side and the “great” and “pretty” Ali finds his own way to success and championship.
See “Fetch Clay, Make Man” before it closes on October 13th. Will Power’s “Fetch Clay, Make Man” delivers a phantom punch that pierces the mind, body, and spirit of the audience. It is a knock out.
FETCH CLAY, MAKE MAN
The cast of “Fetch Clay, Make Man” includes Ray Fisher, K. Todd Freeman, Anthony Gaskins, Nikki M James, John Earl Jelks, Sekou Laidlow, and Richard Masur.
The scenic design for “Fetch Clay, Make Man” is by Riccardo Hernandez; costume design is by Paul Tazewell; lighting design is by Howell Binkley; projection design is by Peter Nigrini, soundscape is by Darron L West; original music is by Justin Ellington; the production stage manager is Megan Smith. The boxing consultant is former boxing champion Michael Olajide, Jr. Production photos by Joan Marcus.
“Fetch Clay, Make Man” plays at New York Theatre Workshop, 79 East 4th Street, between Second Avenue and Bowery. The regular performance schedule is Tuesday and Wednesday at 7:00pm; Thursday and Friday at 8:00pm; Saturday at 3pm and 8pm; Sunday at 2pm and 7pm. “Fetch Clay, Make Man” runs through October 13. Tickets start at $70 and may be purchased online at www.ticketcentral.com, 24 hours a day, seven days a week or by phoning Ticket Central at (212) 279-4200, noon – 8pm daily. For exact dates and times of performance, visit www.nytw.org.
Permalink | Posted by David Roberts on Tuesday, September 24, 2013
“Brendan at the Chelsea” at the Acorn Theatre
“Brendan at the Chelsea” at the Acorn Theatre Written by Janet Behan Directed by Adrian Dunbar Reviewed by David Roberts Theatre reviews Limited
When the synopsis of a dramatic performance offers more information than the performance itself, the creative team needs to perhaps evaluate ways to more effectively translate script to stage or examine the script itself to see if it needs the intervention of a dramaturge. Such is the case with Janet Behan’s recent offering about the life and times of her famed uncle’s early nineteen sixties stay at the Chelsea Hotel in New York City. Although Adrian Dunbar successfully portrays the outer layers of Brendan Behan’s persona, his performance remains at the more superficial levels of characterization. The audience knows the Irish playwright had difficulty with alcohol and bickered often with those who tried to support him and care for him. And the audience knows he was an incapable of allowing himself the rapture of redemption and release from suffering. However, the audience comes to know little else of significance about why this man was “all things to all men” despite consistently fine performances by Mr. Dunbar and the other members of the cast of the Lyric Theatre tour production at 59E59 Theater B. There are unfortunately no windows into Brendan Behan’s soul in Ms. Behan’s “Brendan at the Chelsea.” The audience discovers little about his creative energy or his demons or the corpus of work that tormented genius contributed to the Irish and the American literary canon. Did Behan’s suffering contribute to his genius or detract from it? Did those who loved him feel any resentment toward him? The audience does discover repeatedly that Brendan does not want to reconcile with his estranged wife Beatrice: nor does he wish to return to his estranged homeland of Ireland or to his family he abandoned there.
In varying degrees of non-sobriety, Brendan Behan dictates his tribute to New York (the book that appeared after his death) in a small reel-to-reel tape recorder in his hotel room at the Chelsea. Some of these dictations are brief; some are lengthy monologues the playwright uses to provide exposition or proffer evidence of the protagonist’s deep admiration for the cultural and literary diversity of New York City.
Throughout the lengthy play, Ms. Behan uses flashbacks and dream sequences (perhaps hallucinations) to provide background to Brendan’s present malaise and fractured productivity. These scenes, though entertaining in themselves, provide little information about how Brendan ended up in New York City: what precisely was it this writer was escaping from? The audience sees nothing of Mr. Behan’s interactions with the other residents of the Chelsea Hotel except a composer George (Richard Orr) who does his best to convince Behan the time has come to sober up for good.
It is difficult to feel for the characters in “Brendan at the Chelsea.” Brendan not only abuses himself, he also verbally abuses his caregiver Lianne (Samantha Pearl), his wife Beatrice (Pauline Hutton), and anyone else who is close to him. He accepts an advance from his publisher and does little work on the book. He cheats on his wife and has a child with his paramour. None of these conflicts (ripe for plot building) are developed and exposition never gives way to an interesting story. Although a homoerotic dream sequence and more than one homoerotic flashback allude to questions about Brendan Behan’s sexual status, this interesting part of his life is never explored. Emotionally flat scene follows emotionally flat scene leading to a somewhat disappointing conclusion.
Perhaps Mr. Dunbar should have left direction of “Brendan at the Chelsea” to someone other than himself: it is difficult for an actor to direct himself with sufficient emotional distance and dramatic perspective. “Brendan at the Chelsea” leaves the audience wanting more from Mr. Dunbar, more from the rest of the ensemble cast, and more insight into the recesses of the soul of the man who loved so much the heart and soul of New York City.
BRENDAN AT THE CHELSEA
Northern Ireland’s preeminent theatre company, Belfast’s Lyric Theatre, presents the U.S. premiere of a new play by Janet Behan, “Brendan at the Chelsea.”
The Cast of “Brendan at the Chelsea” features Adrian Dunbar, Pauline Hutton, Richard Orr, Samantha Pearl, and Chris Robinson.
“Brendan at the Chelsea” runs through October 6th at the Acorn Theatre, 410 West 42nd Street. Performances are Tuesdays at 7:00 p.m.; Wednesdays to Fridays at 8:00 p.m.; Saturdays at 2:00 p.m. and 8:00 p.m.; and Sundays at 3:00 p.m. For tickets, which are $55.75, call Telecharge at 212/239-6200, or visit www.BrendanChelsea.com
Permalink | Posted by David Roberts on Wednesday, September 11, 2013
Tickets on Sale September 4 for The Vineyard Theatre's World-Premiere Production of "The Landing"
David Hyde Pierce/ Photo by Joan Marcus
Tickets on Sale September 4 for The Vineyard Theatre's World-Premiere Production of "The Landing" Book and Lyrics by Greg Pierce Music by John Kander Directed by Walter Bobbie
Tickets to the Vineyard Theatre's world premiere production of the musical THE LANDING - with book and lyrics by Greg Pierce, music by John Kander and directed by Walter Bobbie - will go on sale to the general public on Wednesday, September 4 at 1 p.m. THE LANDING begins previews at The Vineyard (108 E. 15 St.) on October 3 prior to an official opening night on October 23.
THE LANDING is the first collaboration between legendary theatre composer John Kander (CHICAGO, CABARET, THE SCOTTSBORO BOYS) and Greg Pierce (SLOW GIRL,, THE WIND-UP BIRD CHRONICLE), and kicks off The Vineyard's 2013-14 season. Mr. Kander and Mr. Pierce are also at work on another new musical, KID VICTORY.
THE LANDING also marks John Kander's first full new theatre collaboration with another writer since the passing of his long-time collaborator Fred Ebb in 2004. Kander and Ebb's latest collaboration THE SCOTTSBORO BOYS -- which had its world-premiere at The Vineyard in 2010 prior to its transfer to Broadway -- will have its London debut this fall, simultaneous with the world-premiere of THE LANDING at The Vineyard.
Walter Bobbie (CHICAGO, VENUS IN FUR) directs THE LANDING. Josh Rhodes (Rodgers + Hammerstein's CINDERELLA) is choreographer.
Featured in the cast of THE LANDING are Tony and Emmy Award-winner David Hyde Pierce (CURTAINS, VANYA AND SONYA AND MASHA AND SPIKE, "Frasier"), Julia Murney (Andrew Lippa's THE WILD PARTY, WICKED), Paul Anthony Stewart (THE PEOPLE IN THE PICTURE, FIDDLER ON THE ROOF) and Frankie Seratch (A TIME TO SHINE/TEEN CABARET).
THE LANDING is a beautiful and haunting new musical comprised of three thematically-connected tales of desire, love and loss.
THE LANDING has set design by two-time Tony Award winner John Lee Beatty, lighting design by Tony Award winner Ken Billington, costume design by Michael Krass, and sound design by Nevin Steinberg. David Loud is music director, orchestrations are by Larry Hochman and Paul Masse is conductor.
Greg Pierce writes plays and fiction. His play SLOWGIRL was the inaugural play at Lincoln Center Theater (LCT3) last season. THE WIND-UP BIRD CHRONICLE, co-written with director Stephen Earnest, based on the novel by Haruki Murakami, premiere at the Edinburgh International Festival and went on to play the Singapore Arts Festival. Other plays include ODYSSEY ROOM, KICK STOP and KID VICTORY with John Kander.
John Kander has produced award-winning work for theater, film and television, and is best-known for his partnership with the late lyricist Fred Ebb, who collaborated for the theatre on FLORA, THE RED MENACE, CABARET (Tony Award), CHICAGO, WOMAN OF THE YEAR (Tony Award), KISS OF THE SPIDER WOMAN, CURTAINS and many more. Their latest collaboration, THE SCOTTSBORO BOYS, received its world premiere at The Vineyard before transferring to Broadway. Kander and Ebb films include "Funny Lady," "Cabaret," "New York, New York", "Chicago," "Kramer vs. Kramer" and "Places in the Heart."
Walter Bobbie won the Tony, Drama Desk and Outer Critics Circle Awards as director of the international hit CHICAGO which has become the longest-running revival in Broadway history. Recent directing includes David Ives's VENUS IN FUR NEW JERUSALEM and THE SCHOOL FOR LIES at Classic Stage Company, Ives's THE OTHER WOMAN at EST as well as Jeff Talbott's THE SUBMISSION at MCC and Terrence McNally's GOLDEN AGE at the Kennedy Center.
David Hyde Pierce recently concluded a Broadway run in the Tony Award-winning comedy VANYA AND SONYA AND MASHA AND SPIKE. He made his professional and Broadway debut in 1982 in Christopher Durang's BEYOND THERAPY and later appeared on Broadway in THE HEIDI CHRONICLES and MONTY PYTHON'S SPAMALOT. He won the Tony Award and a Drama Desk nomination for his role in the musical CURTAINS. In the fall of 2011, Mr. Pierce made his directing debut with the new musical IT SHOULDA BEEN YOU at George Street Playhouse starring Tyne Daly and Harriet Harris. Last summer he directed Oscar Wilde's THE IMPORTANCE OF BEING EARNEST at Williamstown Theatre Festival. Perhaps best-known for his role on TV's iconic comedy "Frasier," Mr. Pierce earned four Emmy Awards among many other accolades. His film credits include "Little Man Tate," "Sleepless in Seattle," "Nixon," and "Down With Love."
Julia Murney last appeared on Broadway as Elphaba in WICKED, after playing the role on national tour. New York credits include LENNON, Andrew Lippa's THE WILD PARTY, FALLING, THE VAGINA MONOLOGUES, A CLASS ACT, SAVED, CRIMES OF THE HEART, QUEEN OF THE MIST, CLOSER THAN EVER and TIME AND AGAIN. She's been seen regionally all over the U.S. including at Signature, Williamstown, Reprise LA, Sacramento Music Circus and Goodspeed. Concert appearances include Carnegie Hall, Joe's Pub, 54 Below, Feinstein's, Kennedy Center, Caramoor, Town Hall and Birdland.
Paul Anthony Stewart appeared on Broadway in THE PEOPLE IN THE PICTURE, FIDDLER ON THE ROOF and CYRANO: THE MUSICAL. He is an Emmy Award-nominee for his work on the daytime serial "The Guiding Light."
One of the nation's leading non-profit theatre companies dedicated to new plays and musicals and bold new programming, The Vineyard has consistently premiered provocative, groundbreaking works. Its 31st season will continue in February 2014 with the New York premiere of the musical ARLINGTON by Victor Lodato and Polly Pen, followed by the world premiere of TOO MUCH SUN, the newest play by Nicky Silver, directed by Mark Brokaw in May 2014.
An unprecedented four productions from recent Vineyard seasons will make their debuts on London stages this fall: [title of show], A BOY AND HIS SOUL, THE LYONS and THE SCOTTSBORO BOYS.
Vineyard Theatre’s leadership includes Douglas Aibel (Artistic Director), Jennifer Garvey-Blackwell (Executive Producer) and Sarah Stern (Co-Artistic Director).
Scheduled through November 10, THE LANDING will perform Tuesdays and Wednesdays at 7 pm, Thursdays through Saturdays at 8 pm and Saturdays and Sundays at 3 pm. Tickets are $80 and can be purchased by calling the Vineyard box office at 212 353 0303 or online at www.vineyardtheatre.org.
Permalink | Posted by David Roberts on Wednesday, September 4, 2013
THE BROADWAY LEAGUE AND THE COALITION OF BROADWAY UNIONS AND GUILDS PRESENT THE 5th ANNUAL BROADWAY SALUTES
On Tuesday, September 24, 2013, The Broadway League and The Coalition of Broadway Unions and Guilds (COBUG) will present the fifth annual Broadway Salutes, a public celebration honoring the countless professionals who have made Broadway great for decades. In this industry-wide celebration, theater professionals will receive special recognition for having worked 25, 35, and 50 years in their respective theatrical craft. This year’s event, hosted by Emmy Award winning actress Holland Taylor (a recent Tony® Award nominee for her role in Ann) and directed by Marc Bruni (Old Jews Telling Jokes), will take place in the Times Square Visitor Center (1560 Broadway), located in the heart of the theatre district on Seventh Avenue between 46th and 47th Streets. The event will begin at 3:30PM with red carpet arrivals, and the public ceremony begins at 4:00PM. Special guests and other participants will be announced shortly.
Broadway Salutes will honor all 2013 inductees. Special recognition will be given to a 25 year inductee, a 35 year inductee, and a 50 year inductee, all to be announced. The event begins at 3:30 with the red carpet and the public ceremony will begin at 4:00PM in the Times Square Visitor Center, located in the heart of the theatre district on Seventh Avenue between 46th and 47th Streets.
Broadway Salutes honors a wide-range of theatre professions – including stagehands, actors, producers, managers, theater owners, press agents, ushers, agents, make-up artists, dressers, designers, directors, choreographers, musicians, casting agents and more – who have dedicated their careers to the Broadway industry.
Broadway contributes 11 billion dollars to NYC’s economy, supports an estimated 86,000 full-time equivalent jobs and generates $550 Million in NYC taxes.
“Broadway Salutes is an occasion for our community to acknowledge the hundreds of people who work on Broadway, behind the scenes and on stage. On this day, the artists as well as the crafts people and technicians, artist representatives and a myriad of other persons who are never seen by the audience will be honored for their remarkable talent. The dedication of these hard working individuals supports the industry that brings in billions of dollars to New York City annually and provides countless hours of enjoyment for New Yorkers and tourists alike.” – Carl Mulert, Broadway Salutes co-chairperson
“Every year, Broadway Salutes brings the community together to honor our colleagues for their many years of service to the theatre industry. Broadway jobs are an essential part of New York City’s economy, and we are looking forward to recognizing these artists, craftsmen and women, and other professionals who do this work daily. It’s about the stories from these individuals who work in the wings of the Broadway theatres, and don’t usually get to take a bow. It’s a way to say ‘thank you’ to these fine New Yorkers doing extraordinary work that defines our city.” – Florie Seery, Broadway Salutes co-chairperson
The Broadway Salutes committee is comprised of: Chris Bennett (AEA), Debbie Bisno (Producer), Marc Bruni (Director), Tony DePaulo (IA), Jessica Jenen (Producer), Nick Kaledin (ATPAM), Aaron Lustbader (General Manager), Caitlin McConnell (Local USA 829), Elizabeth Miller (SDC), Carl Mulert (Local USA 829), Lawrence Paone (Local 751), Laura Penn (SDC), Eva Price (Producer), Paige Price (AEA), Danielle Saks (General Manager), Mark Schweppe (Shubert Organization), Florie Seery (General Manager), John Seid (Local 306), Charlotte St. Martin (The Broadway League), David Turner (General Manager), Pat White (Local 764), Connie Wilkin (General Manager), Charlotte Wilcox (General Manager), and Barbara Wolkoff (SDC).
About The Broadway League
The Broadway League, founded in 1930, is the national trade association for the Broadway industry. The League’s 700-plus members include theatre owners and operators, producers, presenters, and general managers who present in nearly 200 markets in North America, as well as suppliers of goods and services to the theatre industry. Each year, League members bring Broadway to nearly 30 million people in New York and on tour across the U.S. and Canada. For more information, visitwww.BroadwayLeague.com, or follow The Broadway League on Twitter @TheBwayLeague or on Facebook at www.facebook.com/BroadwayLeague. BROADWAY.ORG is the League’s new official on-line headquarters for Broadway in NYC and on tour. Download the free Broadway.org mobile app for iOS or Android, and the free IBDB mobile app for iOS or Android. The Broadway League annually presents the Antoinette Perry “Tony” Awards,® one of the most coveted awards in the entertainment industry, with The American Theatre Wing.
About the Coalition of Broadway Unions and Guilds (COBUG)
The members of the Coalition of Broadway Unions and Guilds (COBUG) have labor contracts or work for or with the Broadway League. COBUG was established to strengthen the position of Unions and Guilds within the industry, to participate in decision making that affects Broadway and the art and craft of theatre at large, and to educate the broader community about the collective role Coalition members play in keeping our industry vibrant and healthy.
Permalink | Posted by David Roberts on Tuesday, September 3, 2013
“The Cheaters Club” at the Abrons Art Center
“The Cheaters Club” at the Abrons Art Center Written and Directed by Derek Ahonen Reviewed by David Roberts Theatre Reviews Limited
At the beginning of the second act of Derek Ahonen’s “Cheaters Club,” Susan, Pat, Charlie, and Linda storm Savannah’s Chaney Inn looking for their cheating spouses. After the first act, the audience re-enters the Abrons Art Center feeling equally bamboozled by their hosts The Amoralists. This well-intentioned (and hastily concocted) mélange of Southern Gothic, magic realism, SNL comedy, and Seth MacFarlane-esque humor quickly veers from the co-founders’ goal of producing theatre dedicated to “the American condition, plunging the depths of the social, political, spiritual, and sexual characteristics of human nature.” Although one does not expect Harper Lee, Carson McCullers, or Tennessee Williams fare, one does expect the highest standards of writing and acting normally proffered by The Amoralists.
The conflation of traditions – Tommy, Jimmy, Cathy, and Vonn’s annual “cheaters club” outing and the “Geist Ubernachtung” – is ripe with potential and should easily provide a platform for exploring important social issues and manifesting the cultural character of not only the American South but also the cultural core of America (think Hawthorne’s “The Scarlet Letter”). Unfortunately, “The Cheaters Club” is so determined to create conflicts that spin off complicated and converging plots, that any important thematic consequences become muddled and lack significant challenge to all things status quo.
The characters in the play are not well developed and this makes it difficult to provide interesting and engaging conflicts. The set is over-wrought and indulgent and perhaps the only truly amoral element in the production: there is no need to provide translucent walls to the guest rooms, for example and having a playable piano on the set does not substitute for more workable options in the remainder of the set. For The Amoralists this is just too much of a too much set.
The audience leaves “The Cheaters Club” scratching its collective head rather than exploring the underbelly of its cheating mind, psyche, and spirit. If only the audience had more of what Lana (Kelly Swindall) delivers to the spouses during the investigation of the cast away cheaters: “Time and space don’t operate by your man-made definitions. All is one. One is all. Forever is never and never is more. You are all so blind with your cozy sense of comfort.” There is simply not enough discomfit in Mr. Ahohen’s “Cheaters Club.” Despite this, it is certain The Amoralists will regroup and rebound with a new season of distinguished theatre.
THE CHEATERS CLUB
“The Cheaters Club” is presented by The Amoralists and is written and directed by Derek Ahonen. Mr. Ahonen is the Co-Founder, Resident Playwright and Associate Artistic Director of The Amoralists.
The cast includes Byron Anthony, Wade Dunham, Edgar Eguia, James Kautz, David Lanson, Sarah Lemp, Judy Merrick, David Nash, Cassandra Paras, Matthew Pilieci, James Rees, Dan Stern, Kelley Swindall, Anna Stromberg, Jordan Tisdale and Vanessa Vaché—all members of The Amoralists’ 50-member ensemble—alongside Charlie Chase, Eloise Edwards, Janette Johnston, Mackenzie Knapp, Zen Mansley, Serena Miller, Kat Murphy, Penny O’Brien, Ben Reno and Haley Sullivan.
The creative team includes Alfred Schatz (Sets), Brad Peterson (Lighting and Projection Design), Niiamar Felder (Costumes), Phil Carluzzo (Sound), Katy Correa (Choreographer) and Jane Davis (Production Stage Manager). Production photos by Russ Rowland.
Performances of “The Cheaters Club” will run continue through September 12 on the following schedule: Sep 3, 6, 7, 9, 10, 13, 14, 16, 17, 19–21 at 8:00 p.m.; 8, 15, 21 at 3:00 p.m. at the Abrons Arts Center. The running time is 150 minutes with one intermission. Abrons Arts Center is located at 466 Grand Street at Pitt Street. Tickets are $50 and can be purchased by visiting theamoralists.com or calling 866.811.4111.
Permalink | Posted by David Roberts on Tuesday, September 3, 2013
“William” at the New York International Fringe Festival at Subculture
“William” at the New York International Fringe Festival at Subculture Book, Music, and Lyrics by Jan-Erik Saaf (Translated from the Swedish by Owen Robertson) Directed by Andreas Boomstra Reviewed by David Roberts Theatre Reviews Limited
Although there are not as many theories about William Shakespeare’s identity, writing, and sexual proclivities as there are his sonnets, the number of stories about him is formidable. Was he gay? Did he write everything attributed to him? Was he one person or perhaps more than one? Indeed, did this bard even exist?
Jon-Erik Saaf attempts to take away some of the confusion and mystery in his musical “William” by having the iconic Shakespeare tell his own story. Based on Shakespeare’s sonnets, the musical allows Shakespeare to relate his experiences of love and intrigue with the “Dark Lady” and the Earl of Southampton. Accompanied by an exquisite string quartet, Jonas Nerbe distinguishes himself as William Shakespeare. Mr. Nerbe shines in his portrayal of the Bard and exposes Shakespeare’s self-doubt, his struggle with writing the sonnets, his arguments with Marlowe, his trips from London and back, his marriage, and his “affairs” with the Dark Lady and the Earl. His performance is authentic, full of charm and wit, and selfless: he is a joy to watch and to listen to.
Highlights of the performance were: Mr. Nebe’s singing Sonnet 18 - “Shall I compare thee” has rarely sounded so beautiful and it becomes evident that this sonnet could have been dedicated to a variety of persons as well as to his eternal craft; and his engaging story of the writing of “Romeo and Juliet.”
“William” celebrates not only the life of Shakespeare and his work but also consecrates an era of creativity and compassion, and era where “water cools not love” (Sonnet 154).
WILLIAM
“William” is presented by The New York International Fringe Festival and Stockholm’s Musik Teater at Subculture, 45 Bleecker Street (at Lafayette Street).
The final performance of “William” took place on Sunday August 25th at 12:00 p.m. For more information about the show and the cast and creative team, please visit www.stockholmsmusikteater.nu/ For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Friday, August 30, 2013
“The Awake” at 59E59 Theater C
“The Awake” at 59E59 Theater C Written by Ken Urban Directed by Adam Fitzgerald Reviewed by David Roberts Theatre Reviews Limited
"Wake, awake, for night is flying,"/The watchmen on the heights are crying;/"Awake, Jerusalem, arise!" (By Philipp Nicolai, 1556-1608, translated by Catherine Winkworth, 1829-1878)
Despite the watchmen’s recurrent and plaintive admonition to join the ranks of the awake, humankind has doggedly chosen to consort with the perhaps less discomfiting echelons of the asleep, the unconscious, or perhaps even the lifeless. Ken Urban’s masterful “The Awake” chronicles the interconnected lives of three characters balanced precariously between the world of the awake and the world of the unconscious. Mr. Urban’s script is a mind-splitting journey into the individual lives of these characters and what ultimately conjoins them in a new and lonely pilgrimage to hope.
Malcolm (Andy Phelan) has put his life on hold to stay at home with his mother. “My mom needs me,” he tells Gabrielle. “My dad left us when I was a kid and she took it really hard.” Gabrielle (Lori Prince) is on the run from the reality of her husband and his anti-terrorist black ops activities with the Argysill Corporation (“Global solutions for global investors”). Nate (Maulik Pancholy) is a young man of color hunted by an organization that assumes, based on racial profiling, he is a terrorist.
Reality, dreams, nightmares, fantasies, even hallucinations exist side-by-side in this inventive play as the characters disclose their histories, their fears, and the terror that connects them. As the action proceeds, the audience begins to recognize the subtle threads that connect Malcolm, Gabrielle, and Nate and these “aha” moments often throw the audience back in their chairs with the same velocity and intensity as Malcolm’s mother’s bed cascades down the stairs in the story he tells and re-tells his mother hoping to rescue her from the vacant spaces created by her stroke. Nate, the audience discovers, is a temp worker who is filling in for Malcolm’s mother who works the phone banks at Argysill the covert organization where Gabrielle’s husband works. The paths to this discovery emerge from the underbrush of loneliness, despair, confusion, and life-threatening fear.
Andy Phelan understands Malcolm’s dilemma with the precision of a digital etching tool. This remarkable actor wears Malcolm’s spirit on his skin as Malcolm, after his mother’s death, comes to terms with all he has sacrificed and admits he “doesn’t know what’s next.” “What I do know,“ he shares at the end of the play, “is that my life is not on hiatus.” It is difficult to understand how Maulik Pancholy can take a curtain call following his exhausting performance as the hunted and haunted Nate who believes that somewhere at some time he “did something wrong.” Lori Prince delivers a Gabrielle who is mother, Eastern-European actor, and the angel Gabriel incarnate. Her mantra “Cisza leczy” reverberates with Malcolm’s disquiet: it is the same phrase his mother used to bring healing to his loneliness: “Silence is healing.”
These three engaging actors are joined by an ensemble cast that portrays all of the characters in Malcolm, Gabrielle, and Nate’s real lives and their unconscious lives. Jeff Biehl, Jocelyn Kuritsky, and Dee Nelson flood the stage with fifteen unique characters and give each of them a defined and delicious personality that counterpoint the stories of the three main characters. They move across the stage with amazing precision and speed, clearly present when need be and practically invisible when setting up a scene.
David Arsenault’s surreal set and Travis McHale’s hypnagogic lighting create a space fit for dreams. Adam Fitzgerald’s direction is a palette of wizardry. With controlled brush strokes he laminates his characters to the fabric and soul of Ken Urban’s well-honed script.
Gabrielle perhaps says it best when she comforts Malcolm with, “Sometimes we have to run from our lives. Lose ourselves in dreams. Because. Well, because, life, life, it is hard.” Gabrielle confronts Robert and her honesty sets her free from her life on the run. Nate returns to Canada and to his parents’ home hoping for a prodigal response. Malcolm heads off on a road trip. “I’ll find a new place, maybe,” he muses. “And maybe this new place, that will become home.” The awake always search for hope and for home. The watchmen on the heights do their best for the night is flying.
THE AWAKE
30 Rock's Maulik Pancholy (Aunt Dan & Lemon at The New Group) is featured in the cast of six, which includes Jeff Biehl (The Master Builder with Andre Gregory and Wallace Shawn), Jocelyn Kuritsky, Andy Phelan (MilkMilkLemonade), and Lori Prince (Sarah, Sarah at MTC).
The creative team includes scenic design by David L. Arsenault; costume design by Lisa Zinni; lighting design by Travis McHale; sound design by Christian Frederickson; and projection design by Brad Peterson. Sean McCain is the technical director. Jessa Nicole Pollack is the production stage manager. Danitra Campbell is the assistant stage manager. Production photos by Kevin Thomas Garcia.
“The Awake” runs for a limited engagement through Sunday, September 8. The performance schedule is Tuesday – Thursday at 7:30 PM; Friday and Saturday at 8:30 PM; Sunday at 3:30 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $18 ($12.60 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Thursday, August 29, 2013
“Judgment Day” at the New York International Fringe Festival at the Players Theatre
“Judgment Day” at the New York International Fringe Festival at the Players Theatre Written by Maria S. Schlatter Directed by Michael Schwartz Reviewed by David Roberts Theatre Reviews Limited
Days of Judgment come and go. Soothsayers, sages, and sycophants wait on the mountains and the plains with followers and well-wishers for the end of time, the final day when some supernatural being will judge all humankind, sending the good to eternal bliss and the not-so-good to equally long-term punishment. In Maria Schlatter’s “Judgment Day,” seven disparate characters await their turns at the pearly gates with varying degrees of turpitude and confidence. Veteran Broadway actor Donald Corren portrays all seven characters with exactitude and exuberance.
The “narrator” for the anticipated chastisement is a news anchor who displays confidence while on camera and less than calm with drink in hand as soon as he knows he is off the air. Mr. Corren’s performance here is spot on and shows the confidence of the newscaster dwindling and his rush to drink increasing as the clock ticks towards midnight. This is the play’s strongest character and by far the most interesting.
The script also includes a pageant dad, a socialite, a cab driver, a person in psychotherapy, and a homophobic cult leader. Under Michael Schwartz’ judicious and careful direction, Donald Corren brings each of these characters to a stunning reality differentiating one from the other with ease. Whether they appear once or more often during the eighty-five minutes, the characters each have a vivid personality and await their judgment day in equally vivid ways.
JUDGMENT DAY
“Judgment Day” is presented by The New York International Fringe Festival and Rare Media Productions at the Players Theatre, 115 MacDougal Street (West3rd and Bleecker).
The final performance of “Judgment Day” took place on Saturday August 24th at 12:00 p.m. For more information about the show and the cast and creative team, please visit www.judgmentdayonstage.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Wednesday, August 28, 2013
“The Magic Mirror” at the New York International Fringe Festival at CSV Flamboyan Theater
“The Magic Mirror” at the New York International Fringe Festival at CSV Flamboyan Theater A New Opera Based on Pushkin’s “Snow White” Composed by Polina Nazaykinskaya Music Direction by Lidiya Yankovskaya Stage Direction by Erin Huelskamp Reviewed by David Roberts Theatre Reviews Limited
“The Magic Mirror,” based on the “Tale of the Dead Princess and the Seven Knights” by Alexander Pushkin, is a new opera presented by Juventas New Music Ensemble. It is presented as part of their ongoing mission statement to produce new works by composers age 35 years or younger and to nurture and develop new and experimental musical compositions. If this current production, which was presented as part of the NY International Fringe Festival, is any indication of the quality and professionalism of this creative entity, it certainly will have a long, bright future. Understandably “The Magic mirror” is a bare bones production given the restraints and limitations of the Fringe, but it provides all that is truly necessary for an exhilarating one act opera: music which is a divine expression; lyrics that are translated clearly; and simply and voices that soar and blend harmoniously from actors who are fully committed to their roles.
Jennifer Weiman vividly appears as the narcissistic Evil Queen with a fiery mezzo (and red hair to match) that produces a raging evil beauty. Erin Anderson produces a coloratura that is fit for her sensitive princess soprano that yearns for love and safety. Andy Papas roams the stage with his regal baritone, equally convincing in grief and exaltation. The princely tenor, Oswaldo Iraheta searches for his true love with a clear, pure tone filled with emotion. Rounding out the principal cast are sopranos Noune Karapletian and Yelena Dudochkin in fine voice and captivating characters. To add to this blissful troupe of players is a brilliant, energetic and enthusiastic ensemble playing multiple roles and producing a sumptuous harmonic sound whether on or off stage.
The music by Polina Nazaykinskaya is simply brilliant, striking chords of emotion which profoundly support the voices. In turn Music Director Lidiya Yankovskaya coaxes every possible expressive note from the incredibly talented instrumentalists. Under the astute direction of Erin Huelskamp, these performers and creative team need to be congratulated for gracing the stage with such a fine collaboration.
THE MAGIC MIRROR
“The Magic Mirror” is presented by The New York International Fringe Festival and Juventas New Music Ensemble at the CSV Flamboyan Theater, 107 Suffolk Street (Rivington and Delancey).
Performances of “The Magic Mirror” closed on Saturday August 24th, 2013. For more information about the show and the cast and creative team, please visit www.juventasmusic.com For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Wednesday, August 28, 2013
Culture Project Presents Chekhov's "The Seagull" at the Lynn Redgrave Theater
Culture Project Presents Chekhov's "The Seagull" at the Lynn Redgrave Theater Adapted by Thomas Kilroy Directed by Max Stafford Clark Featuring Trudie Styler Previews October 3 Opens Sunday October 13
Thomas Kilroy’s version of The Seagull is a reappraisal of Chekhov’s first great comedy, a story of a distinguished actress and her passionate lonely son. Trudie Styler will play that actress under the direction of Max Stafford Clark.
Set in late 19th century Ireland during the time of the National Land League, a political movement advocating for poor tenant farmers, Thomas Kilroy unearths fascinating parallels to the shifts in Russian society that inform Chekhov’s original. This acclaimed adaptation illuminates the play’s universal themes while revealing new social and political angles.
Featured in this stellar cast, along with Ms Styler are Rufus Collins, Alan Cox, Stella Feehily, Slate Holmgren, Rachel Spencer Hewitt, Ryan David O’Byrne, Amanda Quaid, Tim Ruddy and Kenneth Ryan. Previews begin Thursday, October 3rd and continue thru October 12th. Opening night is Sunday October 13th. The Seagull will perform Tuesdays at 7pm, Wednesday thru Saturday at 8pm with matinees on Saturday and Sunday at 3pm at the Lynn Redgrave Theater at the Culture Project, 45 Bleecker Street (at Lafayette Street). Tickets are $75 and Student Tickets are $25.
The Seagull has a scenic design by Peter Hartwell with costume design by Ilona Somogyi and lighting by William Hansen.
Called the “leading catalyst of British theatre’s new writing and new talent since the mid-1970’s,”Max Stafford Clark commissioned and directed the original production of The Seagull at the Royal Court in 1981. He founded Joint Stock Theatre group in 1974 where he helped develop seminal works by writers including David Hare, Howard Brenton, and Caryl Churchill. From 1979 to 1993 he was the Artistic Director of The Royal Court. In 1993 he founded the touring company, Out of Joint, which he still runs. In New York, he has worked for Joseph Papp’s Public Theater, the Roundabout Theatre Company, Manhattan Theatre Club and New York Theatre Workshop.
Thomas Kilroy is one of Ireland’s most distinguished playwrights, with 13 stage plays to his credit, most of which have premiered at the Abbey Theatre, Dublin. He co-founded (with Brian Friel, Stephen Rea and Tom Paulin) the touring theatre company Field Day. His plays include The Death and Resurrection of Mr. Roche, The Shape of Metal and The O’Neill and his adaptations in addition to The Seagull include Ibsen’s Ghosts and Pirandello’s Six Characters in Search of an Author. His 1971 novel, The Big Chapel, was short-listed for the Booker Prize and was awarded the Guardian Fiction Prize. His other awards include the Heinemann Award for Literature, The Aib Literary Prize and the American-Irish Foundation Award for Literature and the Rockefeller Foundation Residency.
Trudie Styler is an actress, film producer, director, human rights activist, environmentalist, organic farmer, and Unicef Ambassador. In 1989, along with her husband Sting, Trudie started the Rainforest Foundation, and has raised over $30,000,000 for its work over three continents. Trudie’s acting career began with the Royal Shakespeare Company after studying drama at Bristol Old Vic. She made regular appearances on British television during the 1980s as well as in many film roles. Acting credits include the ABC series EMPIRE, and the highly acclaimed BBC series LOVE SOUP. Film roles include CHEEKY; ALPHA MALE; and THE NEXT THREE DAYS. As a producer her work has been widely acclaimed, from the IDA award-winning MOVING THE MOUNTAIN in 1994, to award-winning documentary THE SWEATBOX which she co-directed, and a BAFTA nomination in 2009 for MOON. In 2011, Styler returned to the stage in London's West End for A Dish of Tea with Doctor Johnson, also directed by Max Stafford-Clark. Trudie's film releases since starting Maven Pictures in 2011 include GIRL MOST LIKELY starring Kristen Wiig, FILTH starring James McAvoy, and BLACK NATIVITY starring Forest Whitaker.
Culture Project was founded by Allan Buchman in 1996. It has premiered celebrated shows including The Exonorated, Sarah Jones’ Bridge and Tunnel, Guantanamo: Honor Bound to Defend Freedom, Lawrence Wright’s My Trip to Al-Qaeda, Tings Dey Happen and the Lucille Lortel Award- winning premiere of George Packer’s Betrayed. Culture Project also produced “Breaking the Silence, Beating the Drum”, a groundbreaking concert at the United Nations to commemorate the abolition of the Trans-Atlantic Slave Trade. In 2012, Culture Project celebrated its return to the theaters at 45 Bleecker Street. Since then, productions have included James X, directed by Gabriel Byrne, the revival of Rinde Eckert’s acclaimed And God Created Great Whales, Shaheed: The Dream and Death of Benazir Bhutto, along with the 10th anniversary remount of The Exonerated.
Permalink | Posted by David Roberts on Wednesday, August 28, 2013
“Baptized” at the New York International Fringe Festival at the Lynn Redgrave Theater
“Baptized” at the New York International Fringe Festival at the Lynn Redgrave Theater Written and Directed by Kristen Lishen Reviewed by David Roberts Theatre Reviews Limited
Kristen Lishen’s “Baptized” is frighteningly successful not because it focuses on the newsworthy high profile sexual abuse of children, youth, and adults by Roman Catholic priests: this haunting and disturbing play is successful because it exposes the dysfunctional underbelly of congregations in Middle-America “white picket fence” communities where horrific and most often underreported sexual and psychological abuse is committed by popular local clergypersons serving in these mainline Protestant denominations.
Southern Baptist Convention (the largest Protestant denomination in the United States) Pastor Russell Lawrence (David M. Farrington) and his wife Grace (Sabina Petra) “pastor “Bethlehem Baptist Church in present day Ocala, Florida. Pastor Lawrence was called to the local church at the recommendation of Youth Pastor Tommy (Christopher Michael) and, therefore the congregation did not perform due diligence and vet the charismatic minister.
The audience begins to dislike Russell within five minutes of the beginning of “Baptized.” He verbally abuses his wife and three children RJ (Glenn Leo), Bonnie (Isabel Carey), and Gabe (Brandon Salerno) with sexist and homophobic slurs: this is one awful “man of God.” This holy man’s sexism is the least of his congregation’s worries.
When Tommy discovers that his friend’s teenage daughter Danielle is pregnant, he urges Russell to visit the family to put the rumors at rest that he had sexual intercourse with Danielle during counseling sessions he had with the teen and that he, in fact, is the father of the unborn child. Knowing he is in trouble, Russell becomes defensive, aggressive, and even more horrific and more of his past is disclosed. He has left more than one congregation under suspicion of sexual misconduct and, although, Bethlehem Baptist gives him a vote of confidence, he leaves the congregation for a “small parish” where he will most likely continue his pattern of abuse including raping his own daughter.
The ensemble cast, under the playwright’s direction handily portrays the abuser and the abused. Sabina Petra portrays a battered wife whose anger boils over and whose psyche is damaged beyond easy repair. Jealous of the attention she knows Russell is giving Bonnie, she lashes out at her daughter calling her a “whore.” David M. Farrington’s Russell is horrific enough to make the audience want to jump on stage and attack him. Tommy and Grace’s sister Sarah (Abby Eletz) attempt to intervene but their honesty and compassion simply cannot overcome the diabolical power resident in ecclesiastical cover-up, subterfuge, and hypocrisy.
Hopefully “Baptized” will have a future run in New York City: its story needs to be told and needs to be heard.
BAPTIZED
“Baptized” is presented by The New York International Fringe Festival and Shakespeare’s Ladies Productions in association with Rita Fleming-Castaldy and Bedrock Wine Co. at the Lynn Redgrave Theatre, 45 Bleecker Street (at Lafayette Street).
The final performance of “Baptized” took place on Sunday August 25th at 2:45 p.m. For more information about the show and the cast and creative team, please visit www.baptizedplay.com. The role of Bonnie was played by Isabel Carey for this final performance. For more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Wednesday, August 28, 2013
SoHo Rep Announces Its 2013-2014 Season
SOHO REP 2013-14 SEASON TO INCLUDE NEW YORK PREMIERE OF DAVID ADJMI’S “MARIE ANTOINETTE” AND WORLD PREMIERE OF BRANDEN JACOBS-JENKINS’ “AN OCTOROON”
Perhaps the defining characteristic of Soho Rep, under the artistic direction of Sarah Benson, is the institution’s commitment to artists creating surprisingly big theatrical events in its very small space on Walker Street. Soho Rep’s 2013-14 season, announced today, provides ample evidence of that commitment, comprising two shows that are among the biggest the organization has ever produced: the New York premiere of David Adjmi’s “Marie Antoinette”, directed by Rebecca Taichman and featuring Marin Ireland (Blasted); and Branden Jacobs-Jenkins’ “An Octoroon,” directed by Benson.
Benson remarked, “One of the joys of being Artistic Director at Soho Rep is getting to marvel at the brilliant artists who do the impossible here every year. I’m consistently astonished by the incredible worlds each team creates in our little room, on a modest budget and with vast imagination. This season epitomizes that experience.”
Both productions feature enormous casts and challenge actors to take epic journeys; both transport audiences across multiple centuries; and both are wildly inventive with theatrical form. Both also transform stories about (in)famous historical characters into plays about us—here and now.
The season is also a testament to Soho Rep’s Writer/ Director Lab, currently helmed by co-chairs Jenny Schwartz and Ken Rus Schmoll. Adjmi and Jacobs-Jenkins are both alumni of the Lab, and it is where Adjmi wrote the first draft of Marie Antoinette. Furthermore, the upcoming season will include Write with Us, a new series of free workshops led by distinguished Lab alumni.
Soho Rep will hold its annual spring gala on March 31, 2014 honoring Board Chair Jon Dembrow. Participants and performers will be announced at a later date.
Tickets to Marie Antoinette, $35-$50, are on sale now at sohorep.org and 212.352.3101. $0.99 Sunday tickets will be offered for performances on October 13 and 27 and are not available online or in advance. Soho Rep is located at 46 Walker Street in Manhattan.
Soho Rep’s 2013-14 season is produced in in association with John Adrian Selzer.
SOHO REP 2013-14 PROGRAMMING
Soho Rep, with John Adrian Selzer, presents “Marie Antoinette” (New York Premiere) by David Adjmi Directed by Rebecca Taichman October 9 – November 3 Opening: October 20 Performance Schedule: Tues—Sun at 7:30p, Saturday at 3p In association with American Repertory Theater and Yale Repertory Theatre
“Write With Us” A weeklong festival of free writing workshops with Soho Rep. Writer/ Director Lab alumni February 18 – 22, 2014
Soho Rep, which has invited audiences to its hyper-intimate Walker Street space to experience the work of exciting contemporary theater artists at close range, deepens the welcome with Write With Us, in which such some of these luminaries will give free writing workshops open to the public. Instructors will include Lab Co-Chair Jenny Schwartz, plus Eisa Davis, Dan Le Franc, Anne Washburn (teaching a Saturday morning class for elementary school students) and more. Reservations will be possible in January at sohorep.org.
Soho Rep, In association with John Adrian Selzer, presents “An Octoroon” (World Premiere) by Branden Jacobs-Jenkins Directed by Sarah Benson April – May, 2014
About Soho Rep
Founded in 1975, and in its theater on Walker Street since 1991, Soho Rep has built an outstanding reputation for being at the forefront of new and innovative theatre, serving as a vital center for contemporary theatre artists.
Soho Rep is dedicated to cultivating and producing visionary, uncompromising, and exuberant new plays. They perform to one of the youngest adult audiences in New York City, with over half aged 18-40.
Critics continue to herald Soho Rep as a go-to theatre destination for new and original works. New York Magazine has said, “this indispensable theater offers more excitement per chair than any space in town,” Time Out New York says, “Soho Rep is the best theater in NYC (official),” Variety exclaims, “[Soho Rep] has claimed an increasingly vital spot...the venue has suddenly become one to watch for Manhattan theatergoers starved for new work,” and The New York Times declares Soho Rep to be “The downtown powerhouse...regularly outclasses the work done on many of the city’s larger stages.”
Over the last decade, Soho Rep productions have garnered 15 OBIE Awards; nine Drama Desk nominations, two Kesselring Awards, The New York Times Outstanding Playwriting Award for Dan LeFranc’s Sixty Miles To Silverlake and, a special citation in The New York Drama Critics’ Circle’s 2012-13 awards. In recent years, Soho Rep has presented plays by established and emerging theatre artists such as Annie Baker, Lucas Hnath, Sarah Kane, Daniel Alexander Jones, Debbie Tucker Green, Mac Wellman, Young Jean Lee, Nature Theater of Oklahoma and Jackie Sibblies Drury.
Funding Credits
Soho Rep.’s 2013-14 season is made possible with major support from John Adrian Selzer, The Andrew W. Mellon Foundation, Barry Feirstein, the Jerome Foundation, New York City Department of Cultural Affairs, The New York State Council on the Arts, the Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, and the Harold and Mimi Steinberg Charitable Trust.
For further information about Soho Rep, its 2012-14 Season, schedule and ticket information, please visit www.sohorep.org
Permalink | Posted by David Roberts on Wednesday, August 28, 2013
“Reunion Run” at the New York International Fringe Festival at Teatro Latea
“Reunion Run” at the New York International Fringe Festival at Teatro Latea Written by John Doble Directed by Mark Olsen Reviewed by David Roberts Theatre Reviews Limited
Despite being second cousins, Ronnie (Jessica Myhr) and Danny (Seth Reich) have had a romantic attraction to one another since childhood and are finally able to confess and consummate their love for one another at the annual family reunion in Philadelphia in January 2009. This is not an easy reunion: Ronnie is married to gambling-addicted Steve with children and second cousin Danny is recently divorced with children. Nonetheless, both star-crossed lovers believe they were “meant to love” each other.
Following this reunion tryst, Ronnie discloses that she has orders to ship out to Iraq, a deployment which will increase her rank and further secure her military career. A full two years later, Ronnie and Danny meet again at the family reunion and things have changed dramatically. Although Danny still expects the relationship with Ronnie to re-ignite, Ronnie has returned with PTSD and she is unable to reach out to her superiors for help. At their first reunion in 2009, Ronnie was the stronger of the two and served as Danny’s counselor and healer. Upon Ronnie’s return from Iraq, her role with Danny is reversed: she becomes the ‘client’ and Danny becomes the ‘therapist.’
Ronnie tries to make Danny understand that as an officer, she simply “cannot be afraid.” She cannot ask for counseling for her PTSD. Soldiers can readily seek and receive physical rehabilitation and re-entry into the military: commissioned officers cannot admit to needing psychological rehabilitation and re-entry.
Under Mark Olsen’s direction, Jessica Myhr and Seth Reich successfully portray Ronnie and Danny with often disturbing authenticity. These characters have been abused by broken relationships, childhood trauma, and reunion run. As their diminutive names suggest, Veronica and Daniel are not-quite adults who have tried to escape the ravages of growing up. Even their displays of affection and love are stilted and sometimes awkward: these are kids caught in separation-individuation purgatory. Ms. Myhr and Mr. Reich appropriately characterize this ennui and pervasive melancholy. There are times when Mr. Olsen’s direction might be more attentive and the pacing more appropriate to the conflicts and plot.
Ronnie needs to know that Danny “cares about her” and tells him repeatedly that how important that affirmation is to not only the future of their relationship but also to her emotional and psychological health. There is much to learn from the struggle of these convincing characters: respect goes a long way to establish and support a significant relationship. These friends and lovers are different in outlook and core beliefs and their differences provide the kind of moral ambiguity that sweetens dramatic plots. Their struggle for center and clarity is an extended metaphor for all reunion runs, individual, corporate, and political. Too often the race to enter combat recklessly is accompanied by the knowledge that death is likely to result. Yet we forge ahead exercising our humanity and our hubris. Thanks to playwright John Doble for the unsettling yet necessary reminder.
REUNION RUN
“Reunion Run” is presented by The New York International Fringe Festival and Michael Palmer and 11 West Productions LLC at Teatro Latea, 107 Suffolk Street (Rivington and Delancey), New York, New York.
The final performance of “Reunion Run” took place on Saturday August 24th at 4:30 p.m. For more information about the show and the cast and creative team, please visit www.ReunionRunThePlay.com or more information about the 17th Annual New York Fringe Festival visit www.FringeNYC.org.
Permalink | Posted by David Roberts on Tuesday, August 27, 2013
CEOExpress
