(Seen 5/25/11)
Tediously woven around an interesting story based on the real life of Wyatt Earp's widow, this intimate musical takes us back and forth in time, in flashbacks, from 1944 to 1879, and forward from there. It involves the various women in Wyatt Earp's extended family. Mostly it chronicles the journey of Josephine Marcus, a Boston Jewish debutant, and her adventures and travails as she goes traveling with a women's musical troupe to the Wild West.
She meets Wyatt Earp in Tombstone, Arizona, and they fall in love. But he has a complicated household, and this musical tries to tell the saga through the eyes and hearts of the varied women connected to him, including Josephine's sad story.
With a book by Thomas Edward West and Sheilah Rae, lyrics by Ms. Rae, and music by Michele Brourman, this all-female cast is uniformly good, the music pleasant, and the lyrics informative. But the show never takes flight, and Clara Reichel's direction is little more than traffic control in a tiny playing area.
8/21/11
SLEEP NO MORE at the McKittrick Hotel
(Seen 5/18/11)
Environmental installations are hardly new to the New York theatre scene, but this venture's scope and seeming vastness adds new dimensions. And therefore, for those of us familiar with this type of theatre event, the disappointment is greater when it fails to live up to expectations.
The PUNCHDRUNK Theatre Company has transformed three adjoining warehouses in Chelsea into the "McKittrick Hotel", a ramshackle conversion into seemingly dozens of rooms and endless hallways and stairs. Each room has been variously decorated with antiques and detritus from bygone eras, which along with many large open spaces, serves as the background for PUNCHDRUNK's unrecognizable version of MACBETH.
This is more an art installation than a theatre event, so the play is not the thing -- it's merely a sham for a lot of shameless performance 'artists' acting silly and seemingly unrepressed, although it is a choreographed work, not an impromptu one.
Beholders -- or ticket holders, the audience members -- are shuffled from space to space and room to room to follow the lack of action. Or you can choose to ramble along at your own pace and paths. We are made to wear white plastic Venetian face masks, which seeks to make us into androgynous players in this communal enterprise -- but also makes it difficult to breathe in the mostly airless spaces.
Many of the rooms are interesting, if tacky, and some quiet downtime is available there -- and you can momentarily remove your mask if no monitors are around to prod you into wearing it.
For newcomers to this media, there can be some discoveries made -- and my companion enjoyed some of it as art installations. But for old theatre veterans like myself, it made me yearn for TAMARA, ensconced in an East side armory years ago, which had a story line you could follow if you chose, and included a champagne banquet for all guests.
Environmental installations are hardly new to the New York theatre scene, but this venture's scope and seeming vastness adds new dimensions. And therefore, for those of us familiar with this type of theatre event, the disappointment is greater when it fails to live up to expectations.
The PUNCHDRUNK Theatre Company has transformed three adjoining warehouses in Chelsea into the "McKittrick Hotel", a ramshackle conversion into seemingly dozens of rooms and endless hallways and stairs. Each room has been variously decorated with antiques and detritus from bygone eras, which along with many large open spaces, serves as the background for PUNCHDRUNK's unrecognizable version of MACBETH.
This is more an art installation than a theatre event, so the play is not the thing -- it's merely a sham for a lot of shameless performance 'artists' acting silly and seemingly unrepressed, although it is a choreographed work, not an impromptu one.
Beholders -- or ticket holders, the audience members -- are shuffled from space to space and room to room to follow the lack of action. Or you can choose to ramble along at your own pace and paths. We are made to wear white plastic Venetian face masks, which seeks to make us into androgynous players in this communal enterprise -- but also makes it difficult to breathe in the mostly airless spaces.
Many of the rooms are interesting, if tacky, and some quiet downtime is available there -- and you can momentarily remove your mask if no monitors are around to prod you into wearing it.
For newcomers to this media, there can be some discoveries made -- and my companion enjoyed some of it as art installations. But for old theatre veterans like myself, it made me yearn for TAMARA, ensconced in an East side armory years ago, which had a story line you could follow if you chose, and included a champagne banquet for all guests.
BABY IT'S YOU! at the Broadhurst Theatre
(Seen 5/13/11)
Yet another juke-box musical comes to Broadway, albeit not based on a hit film. BABY IT'S YOU! tells the behind-the-scenes story of how a group of young, black, female pop singers became the world-famous Shirelles. And it all happened because a strong-willed Jewish housewife from New Jersey -- Florence Greenberg -- had a vision and a belief in their talent.
It has all the makings of a powerful musical -- including her scandalous affair with a black recording artist, which broke up her marriage. But in the inept book by Floyd Mutrux and Colin Escott, it becomes a boring and pedestrian tale of highs and lows, amateurishly constructed, and uninventively directed by Mutrux and Sheldon Epps.
If you are an avid fan of the Shirelles, or the pop music of the period, you might find it easier sitting through this sad tale.
Beth Leavel is burdened but brave and gung-ho as Mrs. Greenberg, and Kelli Barrett is excellent as her neglected daughter, who finally reveals a fine voice and attractive stage presence. The cast seems quite able, but the material unfortunately doesn't allow them to demonstrate more than superficial abilities.
Yet another juke-box musical comes to Broadway, albeit not based on a hit film. BABY IT'S YOU! tells the behind-the-scenes story of how a group of young, black, female pop singers became the world-famous Shirelles. And it all happened because a strong-willed Jewish housewife from New Jersey -- Florence Greenberg -- had a vision and a belief in their talent.
It has all the makings of a powerful musical -- including her scandalous affair with a black recording artist, which broke up her marriage. But in the inept book by Floyd Mutrux and Colin Escott, it becomes a boring and pedestrian tale of highs and lows, amateurishly constructed, and uninventively directed by Mutrux and Sheldon Epps.
If you are an avid fan of the Shirelles, or the pop music of the period, you might find it easier sitting through this sad tale.
Beth Leavel is burdened but brave and gung-ho as Mrs. Greenberg, and Kelli Barrett is excellent as her neglected daughter, who finally reveals a fine voice and attractive stage presence. The cast seems quite able, but the material unfortunately doesn't allow them to demonstrate more than superficial abilities.
BORN YESTERDAY at the Cort Theatre
(Seen 5/10/11)
Although peopled with a good cast, this revival of Garson Kanin's once-sharp and opinionated picture of dishonesty in our nation's capital, seems picaresque rather than pointed.
Jim Belushi, Nina Arianda, and Robert Sean Leonard go through the motions and machinations of the political and big business intrigue that seems to be the normal activity in government. And director Doug Hughes has failed to flesh out more than surface portrayals from his talented cast, making the play seem like a tv situation comedy.
Set in John Lee Beatty's opulent hotel suite, the cast moves like cardboard figures going through the motions -- rather than the emotions -- of important things happening that will change their lives, and maybe the lives of Washington's political establishment. It comes across as superficial comedy, sometimes entertaining, but never meaningful. Another missed opportunity.
Although peopled with a good cast, this revival of Garson Kanin's once-sharp and opinionated picture of dishonesty in our nation's capital, seems picaresque rather than pointed.
Jim Belushi, Nina Arianda, and Robert Sean Leonard go through the motions and machinations of the political and big business intrigue that seems to be the normal activity in government. And director Doug Hughes has failed to flesh out more than surface portrayals from his talented cast, making the play seem like a tv situation comedy.
Set in John Lee Beatty's opulent hotel suite, the cast moves like cardboard figures going through the motions -- rather than the emotions -- of important things happening that will change their lives, and maybe the lives of Washington's political establishment. It comes across as superficial comedy, sometimes entertaining, but never meaningful. Another missed opportunity.
THE NORMAL HEART at the Golden Theatre
(Seen 5/7/11)
The 'best revival' title this season unquestionably belongs to THE NORMAL HEART, Larry Kramer's heart-wrenching tale about life in the gay community when AIDS first started to decimate its population.
When the play first opened at the Public Theater in 1985, it was a lone voice calling out to its own community, to the government, to the newspapers, and to the medical establishment, demanding help in recognizing that this was a plague. It pleaded for action in fighting for the lives of those battling this unknown disease.
Although times have changed and progress has been made in the past 25 years, this very personal story of a lone activist crying out in the wilderness of politics and society, still remains a poignant and heart-felt story of a small group of individuals striving to survive the epidemic, and still keep love and meaning in their personal relationships..
I have known and followed and admired the work of Joe Mantello as a director since his early off-Broadway days when he was less-known. So it is a happy revelation to see that he is still an accomplished actor who breathes such life and passion into his role. He is flawless in his re-creation of Ned Weeks, the activist who is the catalyst for this play.
The entire cast -- Ellen Barkin, Patrick Breen, Mark Harelik, John Benjamin Hickey, Luke MacFarlane, Lee Pace, Jim Parsons, Richard Topol, and Wayne Alan Wilcox all seamlessly cohere with Mantello to create an ensemble cast that fully serves the needs of the play. Joel Grey and George C. Wolfe guide this remarkable group of actors through its rocky path of progess.
The 'best revival' title this season unquestionably belongs to THE NORMAL HEART, Larry Kramer's heart-wrenching tale about life in the gay community when AIDS first started to decimate its population.
When the play first opened at the Public Theater in 1985, it was a lone voice calling out to its own community, to the government, to the newspapers, and to the medical establishment, demanding help in recognizing that this was a plague. It pleaded for action in fighting for the lives of those battling this unknown disease.
Although times have changed and progress has been made in the past 25 years, this very personal story of a lone activist crying out in the wilderness of politics and society, still remains a poignant and heart-felt story of a small group of individuals striving to survive the epidemic, and still keep love and meaning in their personal relationships..
I have known and followed and admired the work of Joe Mantello as a director since his early off-Broadway days when he was less-known. So it is a happy revelation to see that he is still an accomplished actor who breathes such life and passion into his role. He is flawless in his re-creation of Ned Weeks, the activist who is the catalyst for this play.
The entire cast -- Ellen Barkin, Patrick Breen, Mark Harelik, John Benjamin Hickey, Luke MacFarlane, Lee Pace, Jim Parsons, Richard Topol, and Wayne Alan Wilcox all seamlessly cohere with Mantello to create an ensemble cast that fully serves the needs of the play. Joel Grey and George C. Wolfe guide this remarkable group of actors through its rocky path of progess.
JERUSALEM at the Music Box
(Seen 4/26/11)
Jez Butterworth's JERUSALEM is a manic play that manages to submerge its many merits through over-kill, both in words and actions. Spurning any idea that less is more, this is a 'no-holds-barred' romp into a sub-culture in contemporary England. It is full of sub-plots and back-stories, but they seldom play out.
With 'Jerusalem' as a metaphor for Eden or Utopia, we follow the exploits of an anti-establishment rebel living in a motor home on the edge of a small English town. He attracts a small coterie of young misfits and thrill-seekers who commune with him through his supply of drugs and liquor.
I must admit to a bias against over-the-top performances which I think would be more effective through judicious underplaying. I am evidently in the minority who thinks Mark Rylance over-acts and over-plays this already larger-than-life character.
There is a meaningful story lurking behind all the histrionics which fails to surface and materialize because of too much bluster and false paths.
Jez Butterworth's JERUSALEM is a manic play that manages to submerge its many merits through over-kill, both in words and actions. Spurning any idea that less is more, this is a 'no-holds-barred' romp into a sub-culture in contemporary England. It is full of sub-plots and back-stories, but they seldom play out.
With 'Jerusalem' as a metaphor for Eden or Utopia, we follow the exploits of an anti-establishment rebel living in a motor home on the edge of a small English town. He attracts a small coterie of young misfits and thrill-seekers who commune with him through his supply of drugs and liquor.
I must admit to a bias against over-the-top performances which I think would be more effective through judicious underplaying. I am evidently in the minority who thinks Mark Rylance over-acts and over-plays this already larger-than-life character.
There is a meaningful story lurking behind all the histrionics which fails to surface and materialize because of too much bluster and false paths.
HIGH at the Booth Theatre
(Seen 4/22/11)
When a supposedly realistic play O-Ds on pseudo-realism, you know that your only 'high' will have to come after you leave the theatre. Matthew Lombardo has written a play about a nun who counsels addicts in a church re-hab facility, and her interaction with a very troubled, very confrontational young addict, who is surely destined for a short life.
She is herself a reformed addict, still fighting her own daily battles. In the persona of Kathleen Turner, she is a formidable and sometimes terrifying 'mother figure'.
Everything in this play is so one-dimensional and unbelievable, despite the sketchy back-story of the three principals -- the nun, the priest, and the druggie. Although Lombardo tries to weave a tale of redemption for and by this trio, he never reaches a level of truth in their words or actions.
And Evan Jonigkeit so overplays the addict's physical and mental state, it becomes a monotonous melodrama of surface tension. Director Rob Ruggiero seems to only aid and abet this hyperactivity, further lessening any impact that might lurk below the surface in this play.
When a supposedly realistic play O-Ds on pseudo-realism, you know that your only 'high' will have to come after you leave the theatre. Matthew Lombardo has written a play about a nun who counsels addicts in a church re-hab facility, and her interaction with a very troubled, very confrontational young addict, who is surely destined for a short life.
She is herself a reformed addict, still fighting her own daily battles. In the persona of Kathleen Turner, she is a formidable and sometimes terrifying 'mother figure'.
Everything in this play is so one-dimensional and unbelievable, despite the sketchy back-story of the three principals -- the nun, the priest, and the druggie. Although Lombardo tries to weave a tale of redemption for and by this trio, he never reaches a level of truth in their words or actions.
And Evan Jonigkeit so overplays the addict's physical and mental state, it becomes a monotonous melodrama of surface tension. Director Rob Ruggiero seems to only aid and abet this hyperactivity, further lessening any impact that might lurk below the surface in this play.
WAR HORSE at the Vivian Beaumont Theatre
(Seen 4/20/11)
Without doubt, the best new play of the season is WAR HORSE. It first captures its audience visually, with its stark and imposing panorama. Then it encaptures their emotions, resulting in a total theatrical experience for theatre-goers of all ages.
It's basically a children's fairy tale. A young boy in a dysfunctional British farm family is given a young colt to train for farm work in the days before World War I, and establishes a unique mutual bond with the animal. When the Army comes looking for horses to buy for the battles in Europe, his drunken father sells the horse. It is heart-rending, without being maudlin, as we follow the boy's army enlistment so he can go search the battlefields for his lost horse.
The amazing accomplishment of this very cohesive ensemble piece is that the horse -- all the horses -- are life-size puppets, each maneuvered by an on-stage team of puppeteers. And yet we accept this device as though we are seeing a living, snorting horse, reacting to all the wonders and horrors of life and of war. The sense of realism is magically not lost, despite the very apparent use of puppets.
First, we must credit Nick Stafford for his simple and sympathetic adaptation of Michael Morpurgo's novel; then, Marianne Elliott and Tom Morris, for their directorial imagination and acumen in creating a vast vista, while still keeping the action on a very personal level.
And importantly, the Handspring Puppet Company, whose Adrian Kohler and Basil Jones have designed, created, and directed those shabby puppets into living, full-size horses, with movements and emotiuons that connect with the actors and the audience.
Truly a most worthy theatrical endeavor, carried out by an ensemble cast and a large team of theatre artists.
Without doubt, the best new play of the season is WAR HORSE. It first captures its audience visually, with its stark and imposing panorama. Then it encaptures their emotions, resulting in a total theatrical experience for theatre-goers of all ages.
It's basically a children's fairy tale. A young boy in a dysfunctional British farm family is given a young colt to train for farm work in the days before World War I, and establishes a unique mutual bond with the animal. When the Army comes looking for horses to buy for the battles in Europe, his drunken father sells the horse. It is heart-rending, without being maudlin, as we follow the boy's army enlistment so he can go search the battlefields for his lost horse.
The amazing accomplishment of this very cohesive ensemble piece is that the horse -- all the horses -- are life-size puppets, each maneuvered by an on-stage team of puppeteers. And yet we accept this device as though we are seeing a living, snorting horse, reacting to all the wonders and horrors of life and of war. The sense of realism is magically not lost, despite the very apparent use of puppets.
First, we must credit Nick Stafford for his simple and sympathetic adaptation of Michael Morpurgo's novel; then, Marianne Elliott and Tom Morris, for their directorial imagination and acumen in creating a vast vista, while still keeping the action on a very personal level.
And importantly, the Handspring Puppet Company, whose Adrian Kohler and Basil Jones have designed, created, and directed those shabby puppets into living, full-size horses, with movements and emotiuons that connect with the actors and the audience.
Truly a most worthy theatrical endeavor, carried out by an ensemble cast and a large team of theatre artists.
ANYTHING GOES at Roundabout's Stephen Sondheim Theatre
(Seen 4/15/11)
ANYTHING GOES has a special place in my theatrical heart -- it was the first musical I produced in my college days at CCNY. Cole Porter's music and lyrics are still clever, buoyant, sassy, and tuneful. The book is still as creaky and unbelievable as ever, despite tweaking by Timothy Crouse and John Weidman. So it seems that director/choreographer Kathleen Marshall has striven to make it fast and furious, to make up for it's lack of a good book.
Sutton Foster, as an unlikely Reno Sweeney -- being too young and too desirable for the character -- nevertheless quickly establishes herself as the reason to see the show. She is the triple-threat singer-dancer-actress that any director would want in a fast-paced musical. And once she captures the role and makes it her own, the book seems to fade away, and the journey becomes her private entertainment vehicle.
The large featured cast is more than able, and although Marshall is lax in bringing those characters to life, they serve the purpose of supporting Foster in her virtuoso role. Along with Cole Porter's excellent score and vibrant lyrics, ANYTHING GOES becomes "You're The Top"!
ANYTHING GOES has a special place in my theatrical heart -- it was the first musical I produced in my college days at CCNY. Cole Porter's music and lyrics are still clever, buoyant, sassy, and tuneful. The book is still as creaky and unbelievable as ever, despite tweaking by Timothy Crouse and John Weidman. So it seems that director/choreographer Kathleen Marshall has striven to make it fast and furious, to make up for it's lack of a good book.
Sutton Foster, as an unlikely Reno Sweeney -- being too young and too desirable for the character -- nevertheless quickly establishes herself as the reason to see the show. She is the triple-threat singer-dancer-actress that any director would want in a fast-paced musical. And once she captures the role and makes it her own, the book seems to fade away, and the journey becomes her private entertainment vehicle.
The large featured cast is more than able, and although Marshall is lax in bringing those characters to life, they serve the purpose of supporting Foster in her virtuoso role. Along with Cole Porter's excellent score and vibrant lyrics, ANYTHING GOES becomes "You're The Top"!
CATCH ME IF YOU CAN at the Neil Simon Theatre
(Seen 4/13/11)
Another hit film has traveled the prescribed route to become a big Broadway musical. It arrived with a creative team including Terrence McNally (book), Marc Shaiman (music/lyrics), and director Jack O'Brien -- a combined pedigree any producer would love. But as we all know, pedigrees are not enough on Broadway, and this team has come up with a pedestrian, if workman-like, result.
The show is a combination of straight-forward story-telling by the protagonists, and quirky segues told in classic musical comedy style. All the elements seem to be there, but they never come together and capture the audience, which is always ahead of the story.
Ensconced in the framework of old variety musical tv shows, the story unfolds from various viewpoints. In the original film, you could easily identify with the various characters. Here, they are cardboard cut-outs, moving about the stage, often animated, but never involving. Two 'veteran' performers seems most at ease and most fulfilled -- Norbert Leo Butz and Tom Wopat.
The music is lively, if forgettable. Jerry Mitchell's choreography is fast-moving and scene appropriate, as are the long-limbed, scantily-clad, attractive chorus girls. But the show never catches the fire that we expect.
Another hit film has traveled the prescribed route to become a big Broadway musical. It arrived with a creative team including Terrence McNally (book), Marc Shaiman (music/lyrics), and director Jack O'Brien -- a combined pedigree any producer would love. But as we all know, pedigrees are not enough on Broadway, and this team has come up with a pedestrian, if workman-like, result.
The show is a combination of straight-forward story-telling by the protagonists, and quirky segues told in classic musical comedy style. All the elements seem to be there, but they never come together and capture the audience, which is always ahead of the story.
Ensconced in the framework of old variety musical tv shows, the story unfolds from various viewpoints. In the original film, you could easily identify with the various characters. Here, they are cardboard cut-outs, moving about the stage, often animated, but never involving. Two 'veteran' performers seems most at ease and most fulfilled -- Norbert Leo Butz and Tom Wopat.
The music is lively, if forgettable. Jerry Mitchell's choreography is fast-moving and scene appropriate, as are the long-limbed, scantily-clad, attractive chorus girls. But the show never catches the fire that we expect.
THE BOOK OF MORMON at the Eugene O'Neill Theatre
(Seen 3/29/11)
Scurrilous and foul-mouthed are apt descriptions of this silly and often-inane depiction of THE BOOK OF MORMON. But underneath all of the shenanigans is an old-fashioned musical comedy about how faith -- in anything -- can overcome adversity, hunger, devastation -- and even savage warlords.
"South Park" creators Trey Parker and Matt Stone have enlisted "Avenue Q" composer Robert Lopez to collaborate on this fairy tale about two eager young Mormon missionaries who reluctantly go off to Uganda for their first assignment. Their mission is to baptize and save the souls of some down-trodden jungle inhabitants.
In their journey, they find out life here is not a Disney-like Lion King environment, but the trip turns out to be both a revelation and a revitalization about the power of faith.
One of them, played by Andrew Rannells, is an over-achiever; the other, played by Josh Gad, is a bumbling oaf. In the course of two hours, their personalities and roles are totally changed, all due to the satiric approach to religion -- particularly, Mormonism -- which they adapt to their own needs, and the needs of the villagers.
The direction by Casey Nicholaw and Trey Parker is right on target for this panoramic show, as they develop the pungent story line which allows all the characters to achieve their happy endings. It doesn't always make sense, but it is continuously funny, and often meaningful.
Scurrilous and foul-mouthed are apt descriptions of this silly and often-inane depiction of THE BOOK OF MORMON. But underneath all of the shenanigans is an old-fashioned musical comedy about how faith -- in anything -- can overcome adversity, hunger, devastation -- and even savage warlords.
"South Park" creators Trey Parker and Matt Stone have enlisted "Avenue Q" composer Robert Lopez to collaborate on this fairy tale about two eager young Mormon missionaries who reluctantly go off to Uganda for their first assignment. Their mission is to baptize and save the souls of some down-trodden jungle inhabitants.
In their journey, they find out life here is not a Disney-like Lion King environment, but the trip turns out to be both a revelation and a revitalization about the power of faith.
One of them, played by Andrew Rannells, is an over-achiever; the other, played by Josh Gad, is a bumbling oaf. In the course of two hours, their personalities and roles are totally changed, all due to the satiric approach to religion -- particularly, Mormonism -- which they adapt to their own needs, and the needs of the villagers.
The direction by Casey Nicholaw and Trey Parker is right on target for this panoramic show, as they develop the pungent story line which allows all the characters to achieve their happy endings. It doesn't always make sense, but it is continuously funny, and often meaningful.
ARCADIA at the Ethel Barrymore Theatre
(Seen 3/23/11)
With this impressive revival of Tom Stoppard's illuminating drama, director David Leveaux has redeemed himself from some of his recent pedestrian ventures.
Prior to its New York debut in 1993, a feature story in the New York Times talked about the 100s of reference books one might want to read before seeing this monumental work, with all its intellectual allusions to mathematics, poetry, physics, history, creativity, and social interaction. The current production, like its previous one, requires only the patience and attentiveness of serious theatre-goers to appreciate this delightful tour-de-force.
Two exceptional new performers -- new to me -- are John Riley and Bel Powly, who recreate the roles of a tutor and his young pupil. They are riveting and pliant young actors who command the stage with style and simplicity. Billy Crudup captures the unctuous qualities of a snobbish academic. And once again, Raul Esparza proves that he is capable of a wide range of styles, with his easy accommodation to the needs of a character.
The entire cast works beautifully in a difficult ensemble piece. There is so much visual beauty, intelligent discourse, and dramatic strength in Stoppard's epic play. This current revival seems so much more accessible than the first time around. It's another must-see for any serious theatre lover.
With this impressive revival of Tom Stoppard's illuminating drama, director David Leveaux has redeemed himself from some of his recent pedestrian ventures.
Prior to its New York debut in 1993, a feature story in the New York Times talked about the 100s of reference books one might want to read before seeing this monumental work, with all its intellectual allusions to mathematics, poetry, physics, history, creativity, and social interaction. The current production, like its previous one, requires only the patience and attentiveness of serious theatre-goers to appreciate this delightful tour-de-force.
Two exceptional new performers -- new to me -- are John Riley and Bel Powly, who recreate the roles of a tutor and his young pupil. They are riveting and pliant young actors who command the stage with style and simplicity. Billy Crudup captures the unctuous qualities of a snobbish academic. And once again, Raul Esparza proves that he is capable of a wide range of styles, with his easy accommodation to the needs of a character.
The entire cast works beautifully in a difficult ensemble piece. There is so much visual beauty, intelligent discourse, and dramatic strength in Stoppard's epic play. This current revival seems so much more accessible than the first time around. It's another must-see for any serious theatre lover.
PRISCILLA, QUEEN OF THE DESERT at the Palace Theatre
(Seen 3/22/11)
If glitz and tackiness are attractions for you, PRISCILLA... will be your thing. This is yet another re-creation of a film into an outlandish and tacky Broadway musical. It tells the story of three Australian drag queens and their journey through the famous outback, so that one of them can be re-united with his young son whom he doesn't know, while the veteran old queen can get away from her/his unhappy circumstances.
Unfortunately, the story of the re-union, seems deftly hidden behind the outrageous costumes and sets and props, while the story of the older queen finding himself again seems the main focus. And although it's a lovely story, deftly played out by Tony Sheldon, it somehow diminishes everything else, with its shades of LA CAGE.... It's also a juke-box musical, with songs and performers spanning several decades.
There's obviously an audience for a show about the behind-the-scenes lives of drag queens, and this has been tailored to feed that audience, as well as fans of the original film. But I found the heightened use of sequined and mirrored costumes and props and set pieces were mere visual opportunities to be outlandish, rather than to serve the needs of the show.
If glitz and tackiness are attractions for you, PRISCILLA... will be your thing. This is yet another re-creation of a film into an outlandish and tacky Broadway musical. It tells the story of three Australian drag queens and their journey through the famous outback, so that one of them can be re-united with his young son whom he doesn't know, while the veteran old queen can get away from her/his unhappy circumstances.
Unfortunately, the story of the re-union, seems deftly hidden behind the outrageous costumes and sets and props, while the story of the older queen finding himself again seems the main focus. And although it's a lovely story, deftly played out by Tony Sheldon, it somehow diminishes everything else, with its shades of LA CAGE.... It's also a juke-box musical, with songs and performers spanning several decades.
There's obviously an audience for a show about the behind-the-scenes lives of drag queens, and this has been tailored to feed that audience, as well as fans of the original film. But I found the heightened use of sequined and mirrored costumes and props and set pieces were mere visual opportunities to be outlandish, rather than to serve the needs of the show.
CACTUS FLOWER at the Westside Theatre/Upstairs
(Seen 3/12/11)
Abe Burrows' 1965 comedy is now here in a totally lack-luster production off-Broadway, whose only reason for being here seems to be the presence of Maxwell Caulfield in the leading role. Under Michael Bush's direction, the cast seems lost and uncomfortable, which adds up to a losing event for the audience.
I have to admit that the play shows signs of belonging in another era, which is probably why it has so few revivals. It is hokey and dated. It's the story of a dentist looking for love in all the wrong places -- when all the while, love is languishing in his own office. It has touches of would-be farce, which are never achieved.
The performers leave much to be desired, due mainly to the material and the director. I almost felt the personable cast seemed embarrassed to be there. And I can understand that.
Abe Burrows' 1965 comedy is now here in a totally lack-luster production off-Broadway, whose only reason for being here seems to be the presence of Maxwell Caulfield in the leading role. Under Michael Bush's direction, the cast seems lost and uncomfortable, which adds up to a losing event for the audience.
I have to admit that the play shows signs of belonging in another era, which is probably why it has so few revivals. It is hokey and dated. It's the story of a dentist looking for love in all the wrong places -- when all the while, love is languishing in his own office. It has touches of would-be farce, which are never achieved.
The performers leave much to be desired, due mainly to the material and the director. I almost felt the personable cast seemed embarrassed to be there. And I can understand that.
RAIN at the Neil Simon Theatre
(Seen 12/18/10)
In a less-than-par reminiscence of BEATLEMANIA, four singer-musicians dress like and imitate their original idols. Subtitled "A Tribute To The Beatles ON BROADWAY", this is strictly for Beatle fans who can't get enough pleasure from extant recordings and films, and want to try to re-live these songs and patter of the Fab Four with a like-minded live audience.
Starting out as a bar band in the 70s, these performers have dedicated their professional lives trying to recapture and spread the allure of the Beatles -- whose songs manage to survive even this re-incarnation. If you want to hear Beatle music, live, in a Broadway theatre, this is a show for you.
In a less-than-par reminiscence of BEATLEMANIA, four singer-musicians dress like and imitate their original idols. Subtitled "A Tribute To The Beatles ON BROADWAY", this is strictly for Beatle fans who can't get enough pleasure from extant recordings and films, and want to try to re-live these songs and patter of the Fab Four with a like-minded live audience.
Starting out as a bar band in the 70s, these performers have dedicated their professional lives trying to recapture and spread the allure of the Beatles -- whose songs manage to survive even this re-incarnation. If you want to hear Beatle music, live, in a Broadway theatre, this is a show for you.
THE BREAK OF NOON at the Lucille Lortel Theatre
(Seen 12/17/10)
Neil LaBute usually presents us with provocative ideas and characters -- not necessarily likeable people or happenings. BREAK OF NOON tells the story of a survivor of an office massacre -- a colorless, unhappy office manager, played by David Duchovny.
Duchovny's character claims that God spoke to him during the gunman's onslaught, and that God saved his life. In the aftermath of the event, he has found God, and feels he has a mission to spread the word. He preaches to a growing -- and well-paying -- audience.
But his transformation from sinner to saint is not clear. The question of whether or not he is a charlatan seems indifferent. The conflicted character has all his previous foibles. And as laid out by LaBute, the story is dull and unfulfilled, never developing to any satisfactory conclusion.
Director Jo Bonney has been unable to bring much life or clarity to the work. Performances by Duchovny and Amanda Peet (in a dual role) are workmanlike, but fail to catch fire with the potential underbelly of the characters -- mainly due to LaBute's failure to create characters of depth.
Neil LaBute usually presents us with provocative ideas and characters -- not necessarily likeable people or happenings. BREAK OF NOON tells the story of a survivor of an office massacre -- a colorless, unhappy office manager, played by David Duchovny.
Duchovny's character claims that God spoke to him during the gunman's onslaught, and that God saved his life. In the aftermath of the event, he has found God, and feels he has a mission to spread the word. He preaches to a growing -- and well-paying -- audience.
But his transformation from sinner to saint is not clear. The question of whether or not he is a charlatan seems indifferent. The conflicted character has all his previous foibles. And as laid out by LaBute, the story is dull and unfulfilled, never developing to any satisfactory conclusion.
Director Jo Bonney has been unable to bring much life or clarity to the work. Performances by Duchovny and Amanda Peet (in a dual role) are workmanlike, but fail to catch fire with the potential underbelly of the characters -- mainly due to LaBute's failure to create characters of depth.
THE MERCHANT OF VENICE at the Broadhuirst Theatre
(Seen 11/26/10)
The short move from Central Park to West 44th Street has only enhanced all the fine attributes demonstrated last summer in this astute and accessible version of THE MERCHANT OF VENICE. Credit director Daniel Sullivan and designer Mark Wendland for this successful transfer from an outdoor amphitheatre to the more intimate space at the Broadhurst.
It was a rare and exhilarating experience outdoors, despite ambient New York sound and bad acoustics. These minor obstacles are gone, and there is a more physical focus that now rivets your attention in so many of the intimate scenes.
Al Pacino, whose earlier performance was rich and flawless in its intensity, sensitiiivity, and humanity somehow seems to have reached even greater depth and meaning in his superb creation of Shylock as a believable and vulnerable human being.
The tricky set design carries the actions forward seamlessly and almost cinematically, without losing focus on the interactions of these varied social, political, and religious undertones. And Sullivan's added scene showing Shylock's further abasement at the hands of Portia and her entourage is even more riveting, while Pacino tries to salvage some personal dignity.
The ensemble cast truly serves the play rather than themselves. And it's a not-to-be-missed creation by Pacino.
The short move from Central Park to West 44th Street has only enhanced all the fine attributes demonstrated last summer in this astute and accessible version of THE MERCHANT OF VENICE. Credit director Daniel Sullivan and designer Mark Wendland for this successful transfer from an outdoor amphitheatre to the more intimate space at the Broadhurst.
It was a rare and exhilarating experience outdoors, despite ambient New York sound and bad acoustics. These minor obstacles are gone, and there is a more physical focus that now rivets your attention in so many of the intimate scenes.
Al Pacino, whose earlier performance was rich and flawless in its intensity, sensitiiivity, and humanity somehow seems to have reached even greater depth and meaning in his superb creation of Shylock as a believable and vulnerable human being.
The tricky set design carries the actions forward seamlessly and almost cinematically, without losing focus on the interactions of these varied social, political, and religious undertones. And Sullivan's added scene showing Shylock's further abasement at the hands of Portia and her entourage is even more riveting, while Pacino tries to salvage some personal dignity.
The ensemble cast truly serves the play rather than themselves. And it's a not-to-be-missed creation by Pacino.
A FREE MAN OF COLOR at the Vivian Beaumont Theatre
(Seen 11/24/10)
A monumental new work by John Guare takes us to New Orleans in 1801, just before the Louisiana Purchase changed the lives and lifestyles of Louisianans. It is the story of a former slave who not only buys his freedom, but becomes a philandering millionaire in this one-time French colony. After the United States takes control of the territory, his downfall quickly ensues.
This is his personal story, as well as society's and history's story. It is a sprawling and panoramic view of the times -- in the grand manner that Stoppard might pursue -- but unfortunately, it lacks the purpose and the focus that would lift it to another level of achievement.
The intertwining plots are drawn from from a variety of classic writers, and celebrities, who Guare acknowledges in a compact list under his own credit in the program. Byron, Congreve, Euripides, Jefferson, Milton, Moliere, Shakespeare, Napoleon -- and even Barbara Bush -- are among the olio of sources cited.
A huge cast under George C. Wolfe's direction strives to give life and meaning and momentum to this philosophical history lesson, and Jeffrey Wright as the title's free man of color, brings vitality and style to a complex role. But we are finally left with an unfulfilled endeavor of epic proportions.
A monumental new work by John Guare takes us to New Orleans in 1801, just before the Louisiana Purchase changed the lives and lifestyles of Louisianans. It is the story of a former slave who not only buys his freedom, but becomes a philandering millionaire in this one-time French colony. After the United States takes control of the territory, his downfall quickly ensues.
This is his personal story, as well as society's and history's story. It is a sprawling and panoramic view of the times -- in the grand manner that Stoppard might pursue -- but unfortunately, it lacks the purpose and the focus that would lift it to another level of achievement.
The intertwining plots are drawn from from a variety of classic writers, and celebrities, who Guare acknowledges in a compact list under his own credit in the program. Byron, Congreve, Euripides, Jefferson, Milton, Moliere, Shakespeare, Napoleon -- and even Barbara Bush -- are among the olio of sources cited.
A huge cast under George C. Wolfe's direction strives to give life and meaning and momentum to this philosophical history lesson, and Jeffrey Wright as the title's free man of color, brings vitality and style to a complex role. But we are finally left with an unfulfilled endeavor of epic proportions.
THE PITMAN PAINTERS at MTC's Samuel Friedman Theatre
(Seen 10/2/10)
Writer Lee Hall once again demonstrates his ability to tell an engrossing story about unlikely persistence triumphing against many odds. Probably best known for his work as the writer of both the film and Broadway musical, BILLY ELLIOT, Hall has now written about a group of coal pit miners who join a union-sponsored class in art appreciation, which develops into a class of art creation.
Although somewhat predictable, and often sentimental, we see this disparate group cohere into a coterie of real artists who become famous in their native Britain. Based on a true story, Hall has fleshed out these varied 'types', and with respect and intelligence, has shown their progress from coal miners to professional artists. He has interwoven their development with a number of social, personal, and financial choices they are forced to make along the road to success.
The ensemble cast, under the astute direction of Max Roberts, brings out the passion behind the creative work of these unschooled pitmen-painters. It is a feel-good play, as we discover people rising above their original callings.
Writer Lee Hall once again demonstrates his ability to tell an engrossing story about unlikely persistence triumphing against many odds. Probably best known for his work as the writer of both the film and Broadway musical, BILLY ELLIOT, Hall has now written about a group of coal pit miners who join a union-sponsored class in art appreciation, which develops into a class of art creation.
Although somewhat predictable, and often sentimental, we see this disparate group cohere into a coterie of real artists who become famous in their native Britain. Based on a true story, Hall has fleshed out these varied 'types', and with respect and intelligence, has shown their progress from coal miners to professional artists. He has interwoven their development with a number of social, personal, and financial choices they are forced to make along the road to success.
The ensemble cast, under the astute direction of Max Roberts, brings out the passion behind the creative work of these unschooled pitmen-painters. It is a feel-good play, as we discover people rising above their original callings.
BRIEF ENCOUNTER at Roundabout's Studio 54
(Seen 11/1/10)
A thoroughly enchanting and entertaining experience awaits theatre-goers at this ultra-clever re-interpretation of Noel Coward's classic play and film. With British understatement and overstatement, director/adapter Emma Rice brings her Kneehigh Theatre Company's production to a joyous and visually exciting realization at Studio 54.
The basic story of an unconsummated love affair of two strangers who meet and fall in love at a railway station is so smartly portrayed in this mixture of live performers interacting with film sequences, and with a multitude of simple props, all set against a background of everyday British life.
It is the stuff of British music halls and buskers, punctuated by few words, much action, many visuals, and pertinent songs by Noel Coward and Stu Barker.
Its ensemble cast of nine, led by Hannah Yelland and Tristan Sturrock as the unfulfilled lovers, are multi-talented and perfectly attuned to their varied roles. This is an inventive theatre piece which Emma Rice projects wonderfully from its grounded Coward roots to a soaring height of enjoyment.
A thoroughly enchanting and entertaining experience awaits theatre-goers at this ultra-clever re-interpretation of Noel Coward's classic play and film. With British understatement and overstatement, director/adapter Emma Rice brings her Kneehigh Theatre Company's production to a joyous and visually exciting realization at Studio 54.
The basic story of an unconsummated love affair of two strangers who meet and fall in love at a railway station is so smartly portrayed in this mixture of live performers interacting with film sequences, and with a multitude of simple props, all set against a background of everyday British life.
It is the stuff of British music halls and buskers, punctuated by few words, much action, many visuals, and pertinent songs by Noel Coward and Stu Barker.
Its ensemble cast of nine, led by Hannah Yelland and Tristan Sturrock as the unfulfilled lovers, are multi-talented and perfectly attuned to their varied roles. This is an inventive theatre piece which Emma Rice projects wonderfully from its grounded Coward roots to a soaring height of enjoyment.
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