(Seen 11/25/09)
Although funny at times, this one joke/one note play by Sarah Ruhl, about creating orgasms to treat hysteria in Victorian times in suburban America, doesn't really have a fulfilling climax.
A more-than-capable cast sometimes seems uncomfortable saying silly words and doing silly actions. Based on actual historic medical theories and electric devices, Ruhl has contrived a series of events and interactions around a varied group of social classes.
Although billed as a comedy, with feigned tittering and mock-shock by the characters about the going-ons in the next room, Ruhl still seems to want to make a broader statement about the role of women in marriage, and sexual satisfaction for them --- and perhaps, for men, too --- and the choices that women can make for themselves.
However, it ends up being a precious and preachy fairy tale, with a symbolic happy ending. Electrical stimulation of our sexual organs, in the next room --- the heart of this play --- doesn't necessarily translate into potent theatre comedy.
8/14/10
RAGTIME at the Neil Simon Theatre
(Seen 11/18/09)
This blockbuster musical from 1998 has been pared down scenically, but remains an epic in scope. The emphasis by director Marcia Milgrom Dodge is now centered on the three disparate families, who are each dealing with their personal problems, while coming of age against a background of a changing political and societal life in America.
This is still a visually broad landscape, but we get a more intimate interaction with the three families, so that we care about them as individuals rather than as prototypes. The large cast is impressive, vocally and dramatically.
Although there may not be any "break-out" performances, each member of the symbolic families are to be highly praised --- especially Christiane Noll and Robert Petkoff, and particularly, Bobby Steggert, who each bring a special nuanced depth to their characters.
The music of Stephen Flaherty and lyrics of Lynn Ahrens ably serve the panoramic book by Terrence McNally.
This blockbuster musical from 1998 has been pared down scenically, but remains an epic in scope. The emphasis by director Marcia Milgrom Dodge is now centered on the three disparate families, who are each dealing with their personal problems, while coming of age against a background of a changing political and societal life in America.
This is still a visually broad landscape, but we get a more intimate interaction with the three families, so that we care about them as individuals rather than as prototypes. The large cast is impressive, vocally and dramatically.
Although there may not be any "break-out" performances, each member of the symbolic families are to be highly praised --- especially Christiane Noll and Robert Petkoff, and particularly, Bobby Steggert, who each bring a special nuanced depth to their characters.
The music of Stephen Flaherty and lyrics of Lynn Ahrens ably serve the panoramic book by Terrence McNally.
NIGHTINGALE at MTC's City Center Stage I
(Seen 11/11/09)
Lynn Redgraves's current venture is a solo show in which she is the star and the author. It is about her maternal grandmother, and is the imagined life she might have led, based on some facts and reminiscences.
Redgrave is seated throughout the show, which is a memory piece, which may or may not be true.
Although Redgrave is a fascinating performer, the material is more interesting to her than to her audience -- who seemed more respectful than involved.
A virtuoso performer indulging herself with her dedicated fans.
Lynn Redgraves's current venture is a solo show in which she is the star and the author. It is about her maternal grandmother, and is the imagined life she might have led, based on some facts and reminiscences.
Redgrave is seated throughout the show, which is a memory piece, which may or may not be true.
Although Redgrave is a fascinating performer, the material is more interesting to her than to her audience -- who seemed more respectful than involved.
A virtuoso performer indulging herself with her dedicated fans.
THE UNDERSTUDY at the Roundabout's Laura Pels Theatre
(Seen 11/10/09)
The prolific and talented playwright --- let's make that the prolifically PRODUCED playwright --- Theresa Rebeck, has written a funny, acerbic, entertaining back-stage comedy-farce. And the highly talented Julie White, as a Broadway stage manager, heads up the most able cast of three.
Justin Kirk plays a disappointed and troublesome 2nd-tier stage actor, who changes his name, hoping to change his image. And Mark Paul Gosselaar plays a Hollywood action star making his Broadway acting debut.
Rebeck has contrived a series of stock farce maneuvers --- former lovers in a surprise encounter, air-headed film star with aspirations to do meaningful theatre work, and a newly discovered Kafka play to bring them all together. The dialogue is witty and the action is fast moving.
The problem is that the situation is entirely unbelievable: a Broadway stage manager running an understudy rehearsal on stage, by herself, with no other cast members around; and a single crew member in the booth, high on pot, trying to run lights and move sets by himself. In addition, the movie star stops by, because he is also understudying another role in his own star vehicle!
Rebeck has also set up frequent off-stage phone calls, water and bathroom breaks in order to give individual and duo actors their own moments on stage.
Empty though enjoyable.
The prolific and talented playwright --- let's make that the prolifically PRODUCED playwright --- Theresa Rebeck, has written a funny, acerbic, entertaining back-stage comedy-farce. And the highly talented Julie White, as a Broadway stage manager, heads up the most able cast of three.
Justin Kirk plays a disappointed and troublesome 2nd-tier stage actor, who changes his name, hoping to change his image. And Mark Paul Gosselaar plays a Hollywood action star making his Broadway acting debut.
Rebeck has contrived a series of stock farce maneuvers --- former lovers in a surprise encounter, air-headed film star with aspirations to do meaningful theatre work, and a newly discovered Kafka play to bring them all together. The dialogue is witty and the action is fast moving.
The problem is that the situation is entirely unbelievable: a Broadway stage manager running an understudy rehearsal on stage, by herself, with no other cast members around; and a single crew member in the booth, high on pot, trying to run lights and move sets by himself. In addition, the movie star stops by, because he is also understudying another role in his own star vehicle!
Rebeck has also set up frequent off-stage phone calls, water and bathroom breaks in order to give individual and duo actors their own moments on stage.
Empty though enjoyable.
IDIOT SAVANT at the Public Theater
(Seen 10/31/09)
Iconic theatre names and talents are not enough to insure good theatre --- we see this season after season as projects that look great on paper become unbelievably distraught on stage.
Richard Foreman has written, directed, and designed this new show, as he has done for more than fifty of his numerous theatre presentations. Theatre veterans are familiar with his many trade-mark touches and idiosyncrasies. But for me, and some members of the audience when I attended, IDIOT SAVANT is a painfully, unsuccessful attempt at creating the kind of work for which his Ontological-Hysteric Theatre became famous.
Willem Dafoe returns to his Foreman roots, starring in the current creation. Obviously he is attracting many young movie fans who want to see him on stage. I hope if they are new to the theatre, they are not turned off by this ludicrous, boring, inept, repetitive work. I found the humor humorless and the performances totally precious --- though this was a perfect match for the material.
Iconic theatre names and talents are not enough to insure good theatre --- we see this season after season as projects that look great on paper become unbelievably distraught on stage.
Richard Foreman has written, directed, and designed this new show, as he has done for more than fifty of his numerous theatre presentations. Theatre veterans are familiar with his many trade-mark touches and idiosyncrasies. But for me, and some members of the audience when I attended, IDIOT SAVANT is a painfully, unsuccessful attempt at creating the kind of work for which his Ontological-Hysteric Theatre became famous.
Willem Dafoe returns to his Foreman roots, starring in the current creation. Obviously he is attracting many young movie fans who want to see him on stage. I hope if they are new to the theatre, they are not turned off by this ludicrous, boring, inept, repetitive work. I found the humor humorless and the performances totally precious --- though this was a perfect match for the material.
SUPERIOR DONUTS at the Music Box
(Seen 10/28/09)
Comfort food aplenty is being dispersed at the SUPERIOR DONUTS shop --- really a diner, of sorts, and American diners are legend for comfort foods, with a liberal portion of heartburn thrown in for free!
Tracy Letts' new play. straight from its creation at Steppenwolf, hits Broadway with a tug at your heart, and a panoply of all the street people that inhabit a seedy part of Chicago, now going upscale.
But our hero, Arthur, is still stuck in his Vietnam draft-dodging days, attired in T-shirts from a past musical era and sporting a graying ponytail. Team him up with a young, black hustler-type, who is writing the great American novel while sinking in gambling debts, and acerbic laughter and verbal fireworks explode.
The play has all the elements of a past Norman Lear tv sitcom --- but the exceptional and dynamic acting by Michael McKean snd John Michael Hill raises the believability level. Unfortunately, the play, with all its sub-plots and machinations, doesn't move them out of a predictable melodramatic story, which tidily ends, rather than finishes.
"Superior" may reflect the donuts or the street or the Great Lake, but the play needs more leavening and less frosting.
Comfort food aplenty is being dispersed at the SUPERIOR DONUTS shop --- really a diner, of sorts, and American diners are legend for comfort foods, with a liberal portion of heartburn thrown in for free!
Tracy Letts' new play. straight from its creation at Steppenwolf, hits Broadway with a tug at your heart, and a panoply of all the street people that inhabit a seedy part of Chicago, now going upscale.
But our hero, Arthur, is still stuck in his Vietnam draft-dodging days, attired in T-shirts from a past musical era and sporting a graying ponytail. Team him up with a young, black hustler-type, who is writing the great American novel while sinking in gambling debts, and acerbic laughter and verbal fireworks explode.
The play has all the elements of a past Norman Lear tv sitcom --- but the exceptional and dynamic acting by Michael McKean snd John Michael Hill raises the believability level. Unfortunately, the play, with all its sub-plots and machinations, doesn't move them out of a predictable melodramatic story, which tidily ends, rather than finishes.
"Superior" may reflect the donuts or the street or the Great Lake, but the play needs more leavening and less frosting.
BRIGHTON BEACH MEMOIRS at the Nederlander Theatre
(Seen 10/27/09)
Director David Cromer delivers a first class revival of Neil Simon's play about growing up Jewish in Brooklyn. It will soon be followed by BROADWAY BOUND, and they will play in repertory.
The multi-ethnic cast includes Dennis Boutsikaris. Santino Fontana, Laurie Metcalf, Jessica Hecht, Noah Robbins, Alexandra Socha, and Gracie Bea Lawrence --- all searching their Jewish souls for laughter, pain, angst, guilt, and all the other traits that Simon has imbued them with.
Cromer has wrought portrayals of depth, humor, and sadness from his very capable ensemble cast, and we are drawn into this wonderfully crafted play. We are entertained and moved, as the disparate family struggles to survive and flourish, overcoming their varied problems.
Strong individual performances and scenes meld into a nostalgic and engrossing evening of theatre.
Director David Cromer delivers a first class revival of Neil Simon's play about growing up Jewish in Brooklyn. It will soon be followed by BROADWAY BOUND, and they will play in repertory.
The multi-ethnic cast includes Dennis Boutsikaris. Santino Fontana, Laurie Metcalf, Jessica Hecht, Noah Robbins, Alexandra Socha, and Gracie Bea Lawrence --- all searching their Jewish souls for laughter, pain, angst, guilt, and all the other traits that Simon has imbued them with.
Cromer has wrought portrayals of depth, humor, and sadness from his very capable ensemble cast, and we are drawn into this wonderfully crafted play. We are entertained and moved, as the disparate family struggles to survive and flourish, overcoming their varied problems.
Strong individual performances and scenes meld into a nostalgic and engrossing evening of theatre.
EMBRACEABLE ME at the Kirk Theatre
(Seen 10/25/09)
Victor L. Cahn has written a likeable two-character play about the foibles of a mismatched relationship. Each of the duo tells us her/his version of their diminishing involvement.
Keira Naughton and Scott Barrow are personable performers who inhabit their roles well, but they have been short-changed by their playwright. The story of this 80-minute he said/she said exchange doesn't develop into anything more than some interesting interludes.
Victor L. Cahn has written a likeable two-character play about the foibles of a mismatched relationship. Each of the duo tells us her/his version of their diminishing involvement.
Keira Naughton and Scott Barrow are personable performers who inhabit their roles well, but they have been short-changed by their playwright. The story of this 80-minute he said/she said exchange doesn't develop into anything more than some interesting interludes.
AFTER MISS JULIE at Roundabout's AA Theatre
(Seen 10/23/09)
I have no problem with updating theatre classics --- having done so myself --- but only if it improves it or adds new elements to it that makes the work more accessible to contemporary audiences. Unfortunately, this is not the case in the Patrick Marber adaptation of the Strindberg play.
He has set the action in 1945 Britain, still a class-conscious society, though on the verge of some societal class changes. It makes an interesting back drop, but doesn't really mesh. And there is no chemistry nor charisma on stage, so there is little for us to care about.
Director Mark Brokaw and movie starlet Sienna Miller are the main problems, besides those with the script. Brokaw has given us a series of stage poses, particularly with Ms. Miller, that evoke audience laughter. Julie comes across as a spoiled, snobbish teenager pretending to be sexy and seductive -- but this fails because the actress seems that way rather than the character, and renders her ludicrous.
I have no problem with updating theatre classics --- having done so myself --- but only if it improves it or adds new elements to it that makes the work more accessible to contemporary audiences. Unfortunately, this is not the case in the Patrick Marber adaptation of the Strindberg play.
He has set the action in 1945 Britain, still a class-conscious society, though on the verge of some societal class changes. It makes an interesting back drop, but doesn't really mesh. And there is no chemistry nor charisma on stage, so there is little for us to care about.
Director Mark Brokaw and movie starlet Sienna Miller are the main problems, besides those with the script. Brokaw has given us a series of stage poses, particularly with Ms. Miller, that evoke audience laughter. Julie comes across as a spoiled, snobbish teenager pretending to be sexy and seductive -- but this fails because the actress seems that way rather than the character, and renders her ludicrous.
MEMPHIS at the Shubert Theatre
(Seen 10/22/09)
An excellent new musical has finally come to Broadway, after more than six years struggling in-an-out of development. When you get down to basics, one of the main reasons I like it --- and many of my colleagues disparage it --- is because it is a linear musical. with a beginning/middle/end, with characters you can care about.
It is set in the social and political milieu of the 50s, in segregated Memphis. It is exciting and often powerful, despite its simple plot lines. It doesn't matter that the characters are somewhat stereotypical because the extremely talented cast inhabit their roles so thoroughly, they bring a reality and an individual personality to each of them.
Chad Kimball and Montego Glover, as the ill-starred lovers, flouting racial barriers, are exceptional, both musically and dramatically.
Director Christopher Ashley imbues the huge cast with energy and purpose, and choreographer Sergio Trujillo is once again sparking his routines superbly. David Bryan and Joe DiPietro have written a score that serves the material ably and beautifully.
An excellent new musical has finally come to Broadway, after more than six years struggling in-an-out of development. When you get down to basics, one of the main reasons I like it --- and many of my colleagues disparage it --- is because it is a linear musical. with a beginning/middle/end, with characters you can care about.
It is set in the social and political milieu of the 50s, in segregated Memphis. It is exciting and often powerful, despite its simple plot lines. It doesn't matter that the characters are somewhat stereotypical because the extremely talented cast inhabit their roles so thoroughly, they bring a reality and an individual personality to each of them.
Chad Kimball and Montego Glover, as the ill-starred lovers, flouting racial barriers, are exceptional, both musically and dramatically.
Director Christopher Ashley imbues the huge cast with energy and purpose, and choreographer Sergio Trujillo is once again sparking his routines superbly. David Bryan and Joe DiPietro have written a score that serves the material ably and beautifully.
BYE-BYE BIRDIE at Roundabout's Henry Miller Theatre
(Seen 10/21/09)
Charles Strouse/Lee Adams/Michael Stewart's genre musical returns to New York 48 years after its original debut. Unfortunately, the present version doesn't merit our greeting or attention. It comes across as a dated relic, even out-of-touch with its own time.
John Stamos is very personable and Gina Gershon is very lovely and endearing; Bill Irwin is totally out of his element in a bizarre performance. Allie Trimm stands out both in her singing and acting. But the show, seemingly miscast, is loosely directed and choreographed, Musically, the show falters at almost every level. Even such now-classic songs like "Put On A Happy Face" and "A Lot Of Livin' To Do" are musically unsatisfactory in this revival.
So much talent seems to be wasted. I look forward to better things from all involved.
Charles Strouse/Lee Adams/Michael Stewart's genre musical returns to New York 48 years after its original debut. Unfortunately, the present version doesn't merit our greeting or attention. It comes across as a dated relic, even out-of-touch with its own time.
John Stamos is very personable and Gina Gershon is very lovely and endearing; Bill Irwin is totally out of his element in a bizarre performance. Allie Trimm stands out both in her singing and acting. But the show, seemingly miscast, is loosely directed and choreographed, Musically, the show falters at almost every level. Even such now-classic songs like "Put On A Happy Face" and "A Lot Of Livin' To Do" are musically unsatisfactory in this revival.
So much talent seems to be wasted. I look forward to better things from all involved.
OLEANNA at the Golden Theatre
(Seen 10/14/09)
In this incarnation of David Mamet's OLEANNA, returning to New York on Broadway, the cards seem to be more stacked against its poor male character than when it opened off-Broadway many years ago. The dialogue seems the same, intelligent and pointed, but the directorial attitude and the physical environment have charged and changed the balance of power.
Somehow, the situation of a failing female student, obviously psychologically disturbed, destroying the personal and professional life of an established professor, by crying 'sexual harassment', is an unlikely development, given the patently disturbed mental state of the accuser. While the low-key performances by Julia Stiles and Bill Pullman are on target, as controllably directed by Doug Hughes, they are in a totally unbelievable situation. It's hard to accept this as dramatic conflict.
Adding to the disbelief of this academic encounter is the vast office set, with the scenes interrupted by huge mechanical horizontal shades noisily lumbering up and down.
While David Mamet is a potent wordsmith, and usually a formidable story teller, this play becomes annoying rather than provocative.
In this incarnation of David Mamet's OLEANNA, returning to New York on Broadway, the cards seem to be more stacked against its poor male character than when it opened off-Broadway many years ago. The dialogue seems the same, intelligent and pointed, but the directorial attitude and the physical environment have charged and changed the balance of power.
Somehow, the situation of a failing female student, obviously psychologically disturbed, destroying the personal and professional life of an established professor, by crying 'sexual harassment', is an unlikely development, given the patently disturbed mental state of the accuser. While the low-key performances by Julia Stiles and Bill Pullman are on target, as controllably directed by Doug Hughes, they are in a totally unbelievable situation. It's hard to accept this as dramatic conflict.
Adding to the disbelief of this academic encounter is the vast office set, with the scenes interrupted by huge mechanical horizontal shades noisily lumbering up and down.
While David Mamet is a potent wordsmith, and usually a formidable story teller, this play becomes annoying rather than provocative.
THE ROYAL FAMILY at the MTC's Samuel J. Friedman Theatre
(Seen 10/10/09)
George S. Kaufman and Edna Ferber were creatures of the theatre, and they stacked every aspect and element of it into this romp about a high-profile, beloved theatrical family in the 1920s.
Director Doug Hughes has turned up the speed and fury of this funny and witty excursion into an extended family's dedicated life in "the theatre", sometimes making it feel like a Marx Brothers farce. Aside from the delightful and totally nuanced performances of Rosemary Harris and Jan Maxwell, the large and excellent featured cast playfully labors to keep the action going non-stop.
One of the main audiences for the show will probably be everyone working in the theatre, who will recognize the references and situations in this dated comedy. But all audience will appreciate the humor and love portrayed by a very talented cast that seems to be thoroughly enjoying their roles.
George S. Kaufman and Edna Ferber were creatures of the theatre, and they stacked every aspect and element of it into this romp about a high-profile, beloved theatrical family in the 1920s.
Director Doug Hughes has turned up the speed and fury of this funny and witty excursion into an extended family's dedicated life in "the theatre", sometimes making it feel like a Marx Brothers farce. Aside from the delightful and totally nuanced performances of Rosemary Harris and Jan Maxwell, the large and excellent featured cast playfully labors to keep the action going non-stop.
One of the main audiences for the show will probably be everyone working in the theatre, who will recognize the references and situations in this dated comedy. But all audience will appreciate the humor and love portrayed by a very talented cast that seems to be thoroughly enjoying their roles.
HAMLET at the Broadhurst Theatre
(Seen 10/9/09)
I am pleased that I am not jaded by yet another production of HAMLET. Unlike many nay-say reviewers, I found this a most accessible Shakespearean presentation, both visually and verbally. And its unstoppable athletic movie star, Jude Law, gives an outstandingly viable life to the often melancholy Dane.
The whole cast, with the exception of Ophelia, make this HAMLET easy to listen to and understand, without sacrificing the verse. Director Michael Grandage created a cinematic flow for the intense action, and made the various comedy aspects stable counterpoints to the classic tragedy.
Somber and epic-like, it is a total audience pleasing experience, while maintaining its beauty and depth.
I am pleased that I am not jaded by yet another production of HAMLET. Unlike many nay-say reviewers, I found this a most accessible Shakespearean presentation, both visually and verbally. And its unstoppable athletic movie star, Jude Law, gives an outstandingly viable life to the often melancholy Dane.
The whole cast, with the exception of Ophelia, make this HAMLET easy to listen to and understand, without sacrificing the verse. Director Michael Grandage created a cinematic flow for the intense action, and made the various comedy aspects stable counterpoints to the classic tragedy.
Somber and epic-like, it is a total audience pleasing experience, while maintaining its beauty and depth.
WISHFUL DRINKING at Roundabout Theatre's Studio 54
(Seen 10/7/09)
Another Hollywood celebrity has come to Broadway, stripped emotionally naked and vulnerable, but always aware that she must entertain us while shocking us with her inner personal revelations.
Carrie Fisher has written, and stars in, a solo performance piece, which seems to act as a catharsis, after her many years of drowning herself in the dark side of the so-called Hollywood scene.
With the help of all kinds of visual aids, and director Tony Taccone, she reveals everything we never really wanted to know, and probably knew anyway, about her drug use, her famous parents, her breakdowns. She recounts her descent into a personal hell from which she has mostly pulled herself out.
It is a tour-de-force performance for her, and an enjoyable and illuminating evening in the theatre. She does not disappoint us.
Another Hollywood celebrity has come to Broadway, stripped emotionally naked and vulnerable, but always aware that she must entertain us while shocking us with her inner personal revelations.
Carrie Fisher has written, and stars in, a solo performance piece, which seems to act as a catharsis, after her many years of drowning herself in the dark side of the so-called Hollywood scene.
With the help of all kinds of visual aids, and director Tony Taccone, she reveals everything we never really wanted to know, and probably knew anyway, about her drug use, her famous parents, her breakdowns. She recounts her descent into a personal hell from which she has mostly pulled herself out.
It is a tour-de-force performance for her, and an enjoyable and illuminating evening in the theatre. She does not disappoint us.
A STEADY RAIN at the Schoenfeld Theatre
(Seen 10/1/09)
Film stars have not always fared well on Broadway. Their celebrity has brought fans to the theatre, but not necessarily any critical accolades. In fact, movie superstars have often been the targets of some reviewers.
Daniel Craig and Hugh Jackman are now delivering two of the finest performances on Broadway --- they have set a high standard for the season, which will be filled with film stars as this new season progresses.
They are in a new play by Keith Huff, directed by John Crowley, which leaves a lot be desired as for character, plot, and development. But it provides a very viable vehicle for the tremendous talents of its two-person cast. It allows them to inhabit a wide range of emotions and a meaningful physical life.
It is quite apparent that their superficial filmic adventures have not blunted the theatre acumen and stage presence of these two actors.
Film stars have not always fared well on Broadway. Their celebrity has brought fans to the theatre, but not necessarily any critical accolades. In fact, movie superstars have often been the targets of some reviewers.
Daniel Craig and Hugh Jackman are now delivering two of the finest performances on Broadway --- they have set a high standard for the season, which will be filled with film stars as this new season progresses.
They are in a new play by Keith Huff, directed by John Crowley, which leaves a lot be desired as for character, plot, and development. But it provides a very viable vehicle for the tremendous talents of its two-person cast. It allows them to inhabit a wide range of emotions and a meaningful physical life.
It is quite apparent that their superficial filmic adventures have not blunted the theatre acumen and stage presence of these two actors.
ESTROGENIUS FESTIVAL at Manhattan Theatre Source
(Seen 9/30/09)
Now celebrating its 10th season, the Festival presents a varied series of short plays, written, directed, and produced by women. The evening I attended consisted of four comedic pieces, and one serious vignette with great political and social depth.
The casts of all the plays were accomplished and well-suited to the material. The comedy presentation were mostly amusing skits, in sharp contrast to the single thoughtful little drama.
Full disclosure on my part is that I am acquainted with Elaine Romero and her work -- so my bias is that I am a harsher judge of her work than I might be if I did not know her abilities.
That said, her current offering, REVOLUTIONS, though brief in length, is a fully-realized play. with developed characters, plot turns, and meaningful social comment, As ably directed by Laura Tesman, and movingly acted by Fulvia Vergel and Andrew Eisenman, it comes across as an effective piece of theatre. At the same time, it reveals enough backstory so that it could become part of a longer work.
Now celebrating its 10th season, the Festival presents a varied series of short plays, written, directed, and produced by women. The evening I attended consisted of four comedic pieces, and one serious vignette with great political and social depth.
The casts of all the plays were accomplished and well-suited to the material. The comedy presentation were mostly amusing skits, in sharp contrast to the single thoughtful little drama.
Full disclosure on my part is that I am acquainted with Elaine Romero and her work -- so my bias is that I am a harsher judge of her work than I might be if I did not know her abilities.
That said, her current offering, REVOLUTIONS, though brief in length, is a fully-realized play. with developed characters, plot turns, and meaningful social comment, As ably directed by Laura Tesman, and movingly acted by Fulvia Vergel and Andrew Eisenman, it comes across as an effective piece of theatre. At the same time, it reveals enough backstory so that it could become part of a longer work.
BURN THE FLOOR at the Longacre Theatre
(Seen 8/5/09)
The first Broadway show of the new 2009-2010 season leaped onto stage this week in a frenzy of non-stop dancing. BURN THE FLOOR features a troupe of professional dancers from around the world, in an energetic display of all shades of ballroom dancing, with a decided latin beat. There is no book or theme that ties the show together, though sinuous, sexual overtones pervade every number --- a series of duets and ensembles, performed to a combination of live and taped music.
It is obviously a show designed for a specific audience, and easily succeeds in turning them on. At times, the whistling and cheering and clapping even overshadowed the frenetic activity on stage. The audience seemed populated by the huge number of fans for popular TV reality dance shows --- specifically, "So You Think You Can Dance" and "Dancing With The Stars".
Although Broadway seems like an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficionados and the tourist crowd.
The first Broadway show of the new 2009-2010 season leaped onto stage this week in a frenzy of non-stop dancing. BURN THE FLOOR features a troupe of professional dancers from around the world, in an energetic display of all shades of ballroom dancing, with a decided latin beat. There is no book or theme that ties the show together, though sinuous, sexual overtones pervade every number --- a series of duets and ensembles, performed to a combination of live and taped music.
It is obviously a show designed for a specific audience, and easily succeeds in turning them on. At times, the whistling and cheering and clapping even overshadowed the frenetic activity on stage. The audience seemed populated by the huge number of fans for popular TV reality dance shows --- specifically, "So You Think You Can Dance" and "Dancing With The Stars".
Although Broadway seems like an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficionados and the tourist crowd.
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