THE UNAVOIDABLE DISAPPEARANCE OF TOM DURNIN
at Roundabout's Laura Pels Theatre
(Seen July 2, 2013)
This mini-Madoff story reveals the destruction of a family when Tom Durnin, a high calibre lawyer, solicits investments from family and friends for a venture he knows is a fraud. The play opens with his return after serving a five-year prison term -- disbarred and homeless. His wife has divorced and re-married, while his son is alienated from him and an emotional mess, and his daughter has 'disowned' him.
Playwright Steven Levenson has Tom trying to re-establish his former relationships with his family, as if nothing had changed -- but to no avail, although he convinces his son to let him sleep on his couch until he finds a place of his own. Tom is relentless in pushing his son, trying to black-mail his son-in-law, and blithely showing up unwanted at his ex-wife's home. But nothing works out.
David Morse is a strong and persuasive presence as Tom, and Christopher Denham is perfectly dysfunctional as his son trying to move on with his life. As a study of how a family destroys itself, the play succeeds. But as a drama, it is tedious and over-written.
Director Scott Ellis smoothly moves the action forward, but there is really no place to go.
7/31/13
THE COMEDY OF ERRORS at the Delacorte Theatre
(Seen June 21, 2013)
Dan Sullivan has conceived a somewhat modern Damon Runyon-esque version of Shakespeare's tale of mistaken identity, and two sets of long-lost twin brothers. He has come up with a winning, thoroughly enjoyable romp.
Hamish Linklater plays both twins as Antipholus of Syracuse and of Ephesus, while Jesse Tyler Ferguson does double duty as their servants, Dromio of Syracuse and of Ephesus. They are both accomplished comic actors, and triumphantly carry off the task of playing their double roles.
The entire company seems to be comfortable with the light-hearted gangster-style approach, with numerous modern dance intervals at each scene change. The large supporting cast is excellent, with Jonathan Hadary in top form, and Emily Bergl and Heidi Schreck (Adriana and Luciana) happily and pertly effective.
It is a great example of a re-interpretation of Shakespeare that doesn't forget its roots. And it's also a wonderful show to introduce young people unfamiliar with Shakespeare. It deserves a continued life in New York.
(Seen June 21, 2013)
Dan Sullivan has conceived a somewhat modern Damon Runyon-esque version of Shakespeare's tale of mistaken identity, and two sets of long-lost twin brothers. He has come up with a winning, thoroughly enjoyable romp.
Hamish Linklater plays both twins as Antipholus of Syracuse and of Ephesus, while Jesse Tyler Ferguson does double duty as their servants, Dromio of Syracuse and of Ephesus. They are both accomplished comic actors, and triumphantly carry off the task of playing their double roles.
The entire company seems to be comfortable with the light-hearted gangster-style approach, with numerous modern dance intervals at each scene change. The large supporting cast is excellent, with Jonathan Hadary in top form, and Emily Bergl and Heidi Schreck (Adriana and Luciana) happily and pertly effective.
It is a great example of a re-interpretation of Shakespeare that doesn't forget its roots. And it's also a wonderful show to introduce young people unfamiliar with Shakespeare. It deserves a continued life in New York.
BANANA MONOLOGUES at the Acorn Theatre
How many writers does it take to write a foul-mouthed, ridiculous, adolescent, put-down, one person show? In this case it took three --- John Brennan, Jason Cooper, and Mary Cimino. They obviously feel they have created a valid theatre piece, and have enlisted director Debra Whitfield to stage their egotistical diatribe.
A young, frustrated male is talking to and about his penis --- the banana of the title --- (and his alter ego named Sgt. Johnson). This makes for juvenile laughs for some of the audience, but vulgarity and silliness is not enough to build a show on.
Brennan, the solo performer, tells his saga of his found/lost/found/lost love affair with a puerile relish and a veneer of "listen to how clever I am". This tasteless performance belongs in a bad wet dream, not on a stage.
How many writers does it take to write a foul-mouthed, ridiculous, adolescent, put-down, one person show? In this case it took three --- John Brennan, Jason Cooper, and Mary Cimino. They obviously feel they have created a valid theatre piece, and have enlisted director Debra Whitfield to stage their egotistical diatribe.
A young, frustrated male is talking to and about his penis --- the banana of the title --- (and his alter ego named Sgt. Johnson). This makes for juvenile laughs for some of the audience, but vulgarity and silliness is not enough to build a show on.
Brennan, the solo performer, tells his saga of his found/lost/found/lost love affair with a puerile relish and a veneer of "listen to how clever I am". This tasteless performance belongs in a bad wet dream, not on a stage.
THE SILVER CORD at the Theatre at St. Clement's
(Seen June 13, 2013)
Sidney Howard's 1926 drama, THE SILVER CORD, shows its age, with its creaky situations. It comes across as a Freudian textbook example of a over-possessive mother. Mrs. Phelps, constantly manipulating her two sons, is determined that she should be the only woman in her sons' lives. She goes to extreme measures to destroy the marriage of her older son, and convinces her younger son to break his engagement so that he can remain at home with her.
It's all very melodramatic, And maybe 90 years ago it was a new message about a mother's love. And everyone plays it to the melodramatic hilt, as though this was real life.
But director Dan Wackerman has added another element. He has inexplicably cast a man to play Mrs. Phelps. While this might work in an Oscar Wilde drawing-room comedy, in this case it turns everything into a drag show, which only makes for even more explicit melodrama.
(Seen June 13, 2013)
Sidney Howard's 1926 drama, THE SILVER CORD, shows its age, with its creaky situations. It comes across as a Freudian textbook example of a over-possessive mother. Mrs. Phelps, constantly manipulating her two sons, is determined that she should be the only woman in her sons' lives. She goes to extreme measures to destroy the marriage of her older son, and convinces her younger son to break his engagement so that he can remain at home with her.
It's all very melodramatic, And maybe 90 years ago it was a new message about a mother's love. And everyone plays it to the melodramatic hilt, as though this was real life.
But director Dan Wackerman has added another element. He has inexplicably cast a man to play Mrs. Phelps. While this might work in an Oscar Wilde drawing-room comedy, in this case it turns everything into a drag show, which only makes for even more explicit melodrama.
HERE LIES LOVE at the Public Theater
(Seen May 5, 2013)
MURDER BALLAD at the Union Square Theatre
(Seen May 14, 2013)
These two shows have tangential alliances, other than the fact that they both detail love stories gone awry. They each have forced what should be a conventional theatre piece into an environmental format.
HERE LIES LOVE has the audience moved about, as on a dance floor, theoretically to follow as the action moves to various stage areas. MURDER BALLAD has the scenes pop up in various sections of a bar/club, with the audience straining to watch from various areas in order to see the story unfold.
Both pop-rock musicals are intense and driven, and feature highly talented performances. But I feel that the creators have imposed an environmental approach in order to be different or experimental, not because it works better for the material. It seems they have avoided a proscenium or theatre-in-the-round as a device. At the Public Theatre, in fact, there are a limited number of seats in a balcony surrounding the space, where the audience can watch the show without being being constantly herded about by ushers.
HERE LIES LOVE, with "concept and lyrics" by David Byrne, and music by Byrne and Fatboy Slim, is a compelling story of the rise and fall of Imelda Marcos, strongly sung and acted by Ruthie Ann Miles, forcefully supported by Melody Butiu, Jose Llana, and Conrad Ricamora, along with an able ensemble cast, with driven direction by Alex Timbers.
MURDER BALLAD, with concept, book, and lyrics by Julia Jordan, and music and lyrics by Juliana Nash, is less epic, but still relentless in telling this story of love, passion, betrayal. The ill-fated trio of lovers are passionately played and sung by Caisee Levy, Will Swenson, and John Ellison Conlee, with Rebecca Naomi Jones as a narrator/ringmaster to propel the story forward. It is a strong work directed by Trip Cullman.
I would like to see these musical works again, in a proscenium or thrust stage format, where I could be more focussed on the material rather than the surroundings.
(Seen May 5, 2013)
MURDER BALLAD at the Union Square Theatre
(Seen May 14, 2013)
These two shows have tangential alliances, other than the fact that they both detail love stories gone awry. They each have forced what should be a conventional theatre piece into an environmental format.
HERE LIES LOVE has the audience moved about, as on a dance floor, theoretically to follow as the action moves to various stage areas. MURDER BALLAD has the scenes pop up in various sections of a bar/club, with the audience straining to watch from various areas in order to see the story unfold.
Both pop-rock musicals are intense and driven, and feature highly talented performances. But I feel that the creators have imposed an environmental approach in order to be different or experimental, not because it works better for the material. It seems they have avoided a proscenium or theatre-in-the-round as a device. At the Public Theatre, in fact, there are a limited number of seats in a balcony surrounding the space, where the audience can watch the show without being being constantly herded about by ushers.
HERE LIES LOVE, with "concept and lyrics" by David Byrne, and music by Byrne and Fatboy Slim, is a compelling story of the rise and fall of Imelda Marcos, strongly sung and acted by Ruthie Ann Miles, forcefully supported by Melody Butiu, Jose Llana, and Conrad Ricamora, along with an able ensemble cast, with driven direction by Alex Timbers.
MURDER BALLAD, with concept, book, and lyrics by Julia Jordan, and music and lyrics by Juliana Nash, is less epic, but still relentless in telling this story of love, passion, betrayal. The ill-fated trio of lovers are passionately played and sung by Caisee Levy, Will Swenson, and John Ellison Conlee, with Rebecca Naomi Jones as a narrator/ringmaster to propel the story forward. It is a strong work directed by Trip Cullman.
I would like to see these musical works again, in a proscenium or thrust stage format, where I could be more focussed on the material rather than the surroundings.
7/30/13
NATASHA, PIERRE & THE GREAT COMET OF 1812
at the Kazino
(Seen May 11, 2013)
This is the most entertaining and likable musical of the season. Its concept, demeanor, and realization are superb. Dave Malloy has taken a section of Tolstoy's WAR AND PEACE, and created a musical that sings, soars, and has fun with its serious back story.
The producers have erected a huge "tent" under the Highline. Its shabby exterior hides a veritable Russian palace ballroom/club, replete with chandeliers and rich drapery. The large cast performs throughout the immense space, with playing areas all around. They also visit at some of the many tables where the audience is seated, and perform the most unobtrusive interactions with the patrons --- who are enjoying their gourmet Russian feast, which is included as part of the ticket price.
Scenes move seamlessly throughout the areas, under the sure direction of Rachel Chavkin. Phillipa Soo as Natasha, and Dave Malloy as Pierre, lead the huge and multi-talented cast through this epic presentation. It is a great tribute to Dave Malloy's creative vision.
And even the wait-staff, many Russian-speaking and costumed, fit into the atmospherical surroundings in the Kazino. This show was commissioned by Ars Nova, and originated there, before moving to its present luxurious setting.
at the Kazino
(Seen May 11, 2013)
This is the most entertaining and likable musical of the season. Its concept, demeanor, and realization are superb. Dave Malloy has taken a section of Tolstoy's WAR AND PEACE, and created a musical that sings, soars, and has fun with its serious back story.
The producers have erected a huge "tent" under the Highline. Its shabby exterior hides a veritable Russian palace ballroom/club, replete with chandeliers and rich drapery. The large cast performs throughout the immense space, with playing areas all around. They also visit at some of the many tables where the audience is seated, and perform the most unobtrusive interactions with the patrons --- who are enjoying their gourmet Russian feast, which is included as part of the ticket price.
Scenes move seamlessly throughout the areas, under the sure direction of Rachel Chavkin. Phillipa Soo as Natasha, and Dave Malloy as Pierre, lead the huge and multi-talented cast through this epic presentation. It is a great tribute to Dave Malloy's creative vision.
And even the wait-staff, many Russian-speaking and costumed, fit into the atmospherical surroundings in the Kazino. This show was commissioned by Ars Nova, and originated there, before moving to its present luxurious setting.
I'LL EAT YOU LAST at the Booth Theatre
(Seen May 6, 2013)
It's been almost fifty years since Bette Middler was a replacement in Broadway's FIDDLER ON THE ROOF. She returns now in a one-person show, subtitled "A Chat With Sue Mengers". It's less of a chat and more of a revelatory look into a day in the life of a Hollywood super agent.
It's a special day in her life --- Barbra Streisand has just fired her, and she sits on her couch in her opulent Beverly Hills home. She is continuously smoking joints and cigarettes in tandem, waiting for a call from Barbra, which never comes.
John Logan has written this intense study of Mengers, which is meticulously directed by Joe Mantello. The team of Middler/Logan/Mantello capture the essence of the character and of the times.
Although the material wouldn't suffer from excising some superfluous chatting, Middler never loses a moment of Menger's personality. It's another example of a show with a Hollywood legend coming to Broadway --- and in this case, it works well.
(Seen May 6, 2013)
It's been almost fifty years since Bette Middler was a replacement in Broadway's FIDDLER ON THE ROOF. She returns now in a one-person show, subtitled "A Chat With Sue Mengers". It's less of a chat and more of a revelatory look into a day in the life of a Hollywood super agent.
It's a special day in her life --- Barbra Streisand has just fired her, and she sits on her couch in her opulent Beverly Hills home. She is continuously smoking joints and cigarettes in tandem, waiting for a call from Barbra, which never comes.
John Logan has written this intense study of Mengers, which is meticulously directed by Joe Mantello. The team of Middler/Logan/Mantello capture the essence of the character and of the times.
Although the material wouldn't suffer from excising some superfluous chatting, Middler never loses a moment of Menger's personality. It's another example of a show with a Hollywood legend coming to Broadway --- and in this case, it works well.
SONG OF NORWAY at Carnegie Hall
(Seen April 30, 2013)
I thought I remembered SONG OF NORWAY, and looked forward to seeing this concert version at Carnegie Hall. I guess I was experiencing false-memory syndrome, as I sat and listened --- and read the projected lyrics overhead. I could not fathom how this show could have had such successful run in 1944 --- the year I was in College and "discovered" theatre.
This current production has a first-rate cast. Jim Dale is the narrator (written by Roger Rees). The cast includes Marni Nixon, Judy Kaye, and Santino Fontana. Ted Sperling is the Conductor and Director. The American Symphony Orchestra and the Collegiate Chorale contribute their vast talents.
The main problem is the inane lyrics and the musical arrangements. The only song that seemed to survive was STRANGE MUSIC (a pop-record hit in its time). The fine performances and singing voices were mostly dragged down by the material.
Incidentally, a program note points out that the 1970 film version was "one of the most overblown flops of all time", quoting Pauline Kael's New Yorker review: "the movie is of an unbelievable badness." That pretty much sums up my feelings about this production.
(Seen April 30, 2013)
I thought I remembered SONG OF NORWAY, and looked forward to seeing this concert version at Carnegie Hall. I guess I was experiencing false-memory syndrome, as I sat and listened --- and read the projected lyrics overhead. I could not fathom how this show could have had such successful run in 1944 --- the year I was in College and "discovered" theatre.
This current production has a first-rate cast. Jim Dale is the narrator (written by Roger Rees). The cast includes Marni Nixon, Judy Kaye, and Santino Fontana. Ted Sperling is the Conductor and Director. The American Symphony Orchestra and the Collegiate Chorale contribute their vast talents.
The main problem is the inane lyrics and the musical arrangements. The only song that seemed to survive was STRANGE MUSIC (a pop-record hit in its time). The fine performances and singing voices were mostly dragged down by the material.
Incidentally, a program note points out that the 1970 film version was "one of the most overblown flops of all time", quoting Pauline Kael's New Yorker review: "the movie is of an unbelievable badness." That pretty much sums up my feelings about this production.
ORPHANS at the Gerald Schoenfeld Theatre
(Seen April 24, 2013)
Lyle Kessler's three-character play explores the relationship of two adult brothers, and a stranger who intrudes in their totally dysfunctional family life. Treat, the older brother (Ben Foster) keeps his younger sibling, Phillip (Tom Sturridge) in a feral, juvenile state, afraid to leave their run-down Philadelphia house.
One day, Treat, a petty criminal, brings home an inebriated Harold (Alec Baldwin), thinking him to be a rich businessman who he could hold prisoner until a ransom is paid. The bumbling brothers soon discover that Harold is a gangster, who easily frees himself, but decides to stay on as the boys' surrogate father.
The play's reversal of fortunes add a new dynamic to the relationships. Director Daniel Sullivan, despite the histrionics of the situation, brings out the many light-hearted moments. The strong cast, particularly Baldwin, seems to enjoy the proceedings. Role reversals between the brothers, and a tragic ending, makes for a strong drama.
(Seen April 24, 2013)
Lyle Kessler's three-character play explores the relationship of two adult brothers, and a stranger who intrudes in their totally dysfunctional family life. Treat, the older brother (Ben Foster) keeps his younger sibling, Phillip (Tom Sturridge) in a feral, juvenile state, afraid to leave their run-down Philadelphia house.
One day, Treat, a petty criminal, brings home an inebriated Harold (Alec Baldwin), thinking him to be a rich businessman who he could hold prisoner until a ransom is paid. The bumbling brothers soon discover that Harold is a gangster, who easily frees himself, but decides to stay on as the boys' surrogate father.
The play's reversal of fortunes add a new dynamic to the relationships. Director Daniel Sullivan, despite the histrionics of the situation, brings out the many light-hearted moments. The strong cast, particularly Baldwin, seems to enjoy the proceedings. Role reversals between the brothers, and a tragic ending, makes for a strong drama.
CINDERELLA at the Broadway Theatre
(Seen April 10, 2013)
An unexpected pleasure, especially for adults, is this new version of the Rodgers and Hammerstein fairy tale --- all credit due to a new book by Douglas Carter Beane, and the attitude of director Mark Brokaw.
This is a clever, tongue-in-cheek look an old, old story, made delicious fun by its most engaging cast. Laura Osnes offers a charming performance, and is in top form in this singing/acting/dancing role. And Santino Fontana, playing the reluctant prince with a shy/sly wink, sings his heart out in a stellar performance.
Victoria Clark adds her charms and fine talents, heading a large and excellent supporting cast. There is fun and intelligence in this happy production. It's fine family fare that's no longer aimed strictly for children.
(Seen April 10, 2013)
An unexpected pleasure, especially for adults, is this new version of the Rodgers and Hammerstein fairy tale --- all credit due to a new book by Douglas Carter Beane, and the attitude of director Mark Brokaw.
This is a clever, tongue-in-cheek look an old, old story, made delicious fun by its most engaging cast. Laura Osnes offers a charming performance, and is in top form in this singing/acting/dancing role. And Santino Fontana, playing the reluctant prince with a shy/sly wink, sings his heart out in a stellar performance.
Victoria Clark adds her charms and fine talents, heading a large and excellent supporting cast. There is fun and intelligence in this happy production. It's fine family fare that's no longer aimed strictly for children.
LUCKY GUY at the Broadhurst Theatre
(Seen April 4, 2013)
The back-story of LUCKY GUY has more interest than the play itself. A well-loved Nora Ephron wrote this play about an ordinary, plodding New York reporter who happened to get a scoop, which eventually won him a Pulitzer Prize in journalism. Ephron died before the play was ready for production. It's a mediocre work, but the many people who loved her, pursued the production of this play as a tribute to her memory.
Tom Hanks becomes the key to this project going forward. It's unlikely that this lack-luster, B-movie type material, would be here without his presence. He plays the real-life reporter/columnist, Mike McAlary, in this unfolding docu-drama of the ups-and-downs in the life of a New York itinerant reporter. He brings charm and charisma to a not particularly nice guy. McAlary is chummy and congenial in his way, but always self-serving. Because McAlary died of cancer at the age of 41, Ephron tugs at the heartstrings of the audience.
But despite all the comradery and rivalries shown in various New York newsrooms, the audience doesn't really care about anyone but Hanks, not his role. They are here to see Hanks live, on stage --- and that's the bottom line.
Director George C> Wolfe keeps things moving swiftly and briskly, but there isn't too much he can do with this weak script. The large supporting cast do well in their stereotypical roles. It's a shame the material isn't up to their capabilities.
(Seen April 4, 2013)
The back-story of LUCKY GUY has more interest than the play itself. A well-loved Nora Ephron wrote this play about an ordinary, plodding New York reporter who happened to get a scoop, which eventually won him a Pulitzer Prize in journalism. Ephron died before the play was ready for production. It's a mediocre work, but the many people who loved her, pursued the production of this play as a tribute to her memory.
Tom Hanks becomes the key to this project going forward. It's unlikely that this lack-luster, B-movie type material, would be here without his presence. He plays the real-life reporter/columnist, Mike McAlary, in this unfolding docu-drama of the ups-and-downs in the life of a New York itinerant reporter. He brings charm and charisma to a not particularly nice guy. McAlary is chummy and congenial in his way, but always self-serving. Because McAlary died of cancer at the age of 41, Ephron tugs at the heartstrings of the audience.
But despite all the comradery and rivalries shown in various New York newsrooms, the audience doesn't really care about anyone but Hanks, not his role. They are here to see Hanks live, on stage --- and that's the bottom line.
Director George C> Wolfe keeps things moving swiftly and briskly, but there isn't too much he can do with this weak script. The large supporting cast do well in their stereotypical roles. It's a shame the material isn't up to their capabilities.
KINKY BOOTS at the Al Hirschfeld Theatre
(Seen April 6, 2013)
Hidden beneath the glitter and flash, lies an old-fashioned love story, which includes the discovery that when you love and accept yourself for who you are, nothing can stop you.
The story is clothed in the boots of a traditional English shoe factory whose shoes have become stylistically out-of-its-time. A young man who doesn't want to follow in his father's shoes, inherits the factory and feels obliged to carry on for the sake of tradition and the town's workers. Enter a drag queen, who comes up with a plan to save the factory. but who still hasn't come to terms with who he is.
With a mellow and appealing book by Harvey Fierstein, wrapped around a pop score by Cyndi Lauper which snares our heart and our emotions, the cast captures our attention and our involvement in this soppy musical.
Topping off the cast is a virtuoso performance by Billy Porter, as the drag queen, Lola --- dancing, singing, and acting his heart out. Stark Sands, as Charlie, adds his fine talents as the unwilling heir. And Annaleigh Ashford is a wonderful counterpoint as a factory girl who finally wins Charlie's love.
It's a Broadway love story, told with feeling and gusto, brightly and inventively directed and choreographed by Jerry Mitchell.
(Seen April 6, 2013)
Hidden beneath the glitter and flash, lies an old-fashioned love story, which includes the discovery that when you love and accept yourself for who you are, nothing can stop you.
The story is clothed in the boots of a traditional English shoe factory whose shoes have become stylistically out-of-its-time. A young man who doesn't want to follow in his father's shoes, inherits the factory and feels obliged to carry on for the sake of tradition and the town's workers. Enter a drag queen, who comes up with a plan to save the factory. but who still hasn't come to terms with who he is.
With a mellow and appealing book by Harvey Fierstein, wrapped around a pop score by Cyndi Lauper which snares our heart and our emotions, the cast captures our attention and our involvement in this soppy musical.
Topping off the cast is a virtuoso performance by Billy Porter, as the drag queen, Lola --- dancing, singing, and acting his heart out. Stark Sands, as Charlie, adds his fine talents as the unwilling heir. And Annaleigh Ashford is a wonderful counterpoint as a factory girl who finally wins Charlie's love.
It's a Broadway love story, told with feeling and gusto, brightly and inventively directed and choreographed by Jerry Mitchell.
CAT ON A HOT TIN ROOF at the Richard Rodgers Theatre
(Seen January 23, 2013)
Tennessee Williams modern classic has attracted yet another star to attempt the role of Maggie the cat --- this time, it's Scarlett Johansson, still somewhat fresh from her recent Tony award for A VIEW FROM THE BRIDGE. She has the looks and the demeanor for Maggie, but these are superficial for a role of this dimension. And Benjamin Walker, late of BLOODY, BLOODY ANDREW JACKSON, plays Brick almost like a cypher.
But the main problem is director Rob Ashford's decision to dilute Williams' poetry and emotions --- giving us empty passion, instead! He has filled the play with excessive and intrusive sound effects and music that only diminish and get in the way, reducing the effectiveness of the individual scenes instead of under-scoring them.
The play comes across as a loud, relentless, sterile piece of theatre.
(Seen January 23, 2013)
Tennessee Williams modern classic has attracted yet another star to attempt the role of Maggie the cat --- this time, it's Scarlett Johansson, still somewhat fresh from her recent Tony award for A VIEW FROM THE BRIDGE. She has the looks and the demeanor for Maggie, but these are superficial for a role of this dimension. And Benjamin Walker, late of BLOODY, BLOODY ANDREW JACKSON, plays Brick almost like a cypher.
But the main problem is director Rob Ashford's decision to dilute Williams' poetry and emotions --- giving us empty passion, instead! He has filled the play with excessive and intrusive sound effects and music that only diminish and get in the way, reducing the effectiveness of the individual scenes instead of under-scoring them.
The play comes across as a loud, relentless, sterile piece of theatre.
SCANDALOUS at the Neil Simon Theatre
(Seen November16, 2012)
Aimee Semple McPherson, a self-proclaimed preacher who conquered the Hollywood elite in the 1920s, is a character who may deserve some tribute in a musical about her life. But Kathie Lee Gifford, who wrote the book, lyrics, and "additional music", fails to provoke our interest in her by-the-numbers, year-by-year, re-telling of McPherson's story.
And even adding Charlie Chaplin, William Randolph Hearst, and Louella Parsons to her cast of characters, hasn't turned the trick. Pseudo glitz and glamor do not rescue a failed musical. The writing is bland and uninteresting, while the music by David Pomeranz and David Friedman is forgettable.
You can't blame the performers when the material isn't substantial enough to catch our interest. Carolee Carmello does as much as possible to pull it off, but cannot overcome the problems of the show. The cast is eager and capable of better work. George Hearn, in his secondary role of Brother Bob, is the only character that seems real and believable.
(Seen November16, 2012)
Aimee Semple McPherson, a self-proclaimed preacher who conquered the Hollywood elite in the 1920s, is a character who may deserve some tribute in a musical about her life. But Kathie Lee Gifford, who wrote the book, lyrics, and "additional music", fails to provoke our interest in her by-the-numbers, year-by-year, re-telling of McPherson's story.
And even adding Charlie Chaplin, William Randolph Hearst, and Louella Parsons to her cast of characters, hasn't turned the trick. Pseudo glitz and glamor do not rescue a failed musical. The writing is bland and uninteresting, while the music by David Pomeranz and David Friedman is forgettable.
You can't blame the performers when the material isn't substantial enough to catch our interest. Carolee Carmello does as much as possible to pull it off, but cannot overcome the problems of the show. The cast is eager and capable of better work. George Hearn, in his secondary role of Brother Bob, is the only character that seems real and believable.
BUYER & CELLAR at the Rattlestick Playwrights Theatre
(Seen April; 22, 2013)
Jonathan Tolins has written a very informative play about the real and imagined quirks and personality of Barbra Streisand, and her strange and private shopping mall in the basement of a barn on her Malibu estate.
The basis of the play is rooted in Streisand's coffee-table book and dvd, MY PASSION FOR DESIGN, which is replete with photographs of the various stores and their merchandise, all from Streisand's personal accumulation of "stuff". Although she is the only shopper in this little village, she does have a salesman/storekeeper to tend to her shops.
Tolins has taken off from this premise, and brought us into the dark life of a young actor who takes on the actual job of that storekeeper. He has written a funny, satirical vehicle for Michael Urie, who plays all the roles with great joy and wonderment. It is briskly directed by Stephen Brackett.
My only small problem with this totally entertaining show is that whenever we might achieve a meaningful "moment" on stage, Urie (or Tolins or Brackett) goes for the joke. They get the laughs every time --- but it would have been nice to occasionally savor the emotional moment.
(Seen April; 22, 2013)
Jonathan Tolins has written a very informative play about the real and imagined quirks and personality of Barbra Streisand, and her strange and private shopping mall in the basement of a barn on her Malibu estate.
The basis of the play is rooted in Streisand's coffee-table book and dvd, MY PASSION FOR DESIGN, which is replete with photographs of the various stores and their merchandise, all from Streisand's personal accumulation of "stuff". Although she is the only shopper in this little village, she does have a salesman/storekeeper to tend to her shops.
Tolins has taken off from this premise, and brought us into the dark life of a young actor who takes on the actual job of that storekeeper. He has written a funny, satirical vehicle for Michael Urie, who plays all the roles with great joy and wonderment. It is briskly directed by Stephen Brackett.
My only small problem with this totally entertaining show is that whenever we might achieve a meaningful "moment" on stage, Urie (or Tolins or Brackett) goes for the joke. They get the laughs every time --- but it would have been nice to occasionally savor the emotional moment.
ANN at Lincoln Center's Vivian Beaumont Theatre
(Seen March 18, 2013)
Holland Taylor is an entrepreneurial actress, best known for her film and television work. At one point, Taylor obvious fell in love with the story of Ann Richards, the late Texas governor, and decided to re-incarnate her.
After years of research and countless meetings with Richards' family and friends, Taylor has written a tour-de-force one-person show for herself, which seems like a believable impersonation of the real Ann Richards.
Unfortunately, Taylor's acting talents are superior to her playwriting abilities, and the result is a paean to a woman that we don't know enough about --- nor do we care to know. This one-sided version of a life in politics covers all the important events in Richards' career, but we never get to really see how she became the person we somewhat know.
Director Benjamin Endsley Klein has not been able to give any real life or meaning to this "and then..." story. While Taylor has created a vehicle for herself as an actress, she has not been able to breathe life into the character.
(Seen March 18, 2013)
Holland Taylor is an entrepreneurial actress, best known for her film and television work. At one point, Taylor obvious fell in love with the story of Ann Richards, the late Texas governor, and decided to re-incarnate her.
After years of research and countless meetings with Richards' family and friends, Taylor has written a tour-de-force one-person show for herself, which seems like a believable impersonation of the real Ann Richards.
Unfortunately, Taylor's acting talents are superior to her playwriting abilities, and the result is a paean to a woman that we don't know enough about --- nor do we care to know. This one-sided version of a life in politics covers all the important events in Richards' career, but we never get to really see how she became the person we somewhat know.
Director Benjamin Endsley Klein has not been able to give any real life or meaning to this "and then..." story. While Taylor has created a vehicle for herself as an actress, she has not been able to breathe life into the character.
TALLY'S FOLLY at Roundabout's Laura Pels Theatre
(Seen March 7, 2013)
A fondly remembered little play, Lanford Wilson's Pulitzer Prize winning TALLY'S FOLLY, has been sensitively revived by the Roundabout Theatre. And they have wisely recruited a pair of low-key, intense, appealing actors to recreate the story of how two 'losers' come together.
Danny Burstein and Sarah Paulson totally embody their roles, charmingly parrying each other with affection and skill. Director Michael Wilson's unseen hands brings out the poetry and reality of this battle for a love partnership between two disparate personalities and social classes.
Wilson's play provides a charming vehicle for these theatre artists to win our affection.
(Seen March 7, 2013)
A fondly remembered little play, Lanford Wilson's Pulitzer Prize winning TALLY'S FOLLY, has been sensitively revived by the Roundabout Theatre. And they have wisely recruited a pair of low-key, intense, appealing actors to recreate the story of how two 'losers' come together.
Danny Burstein and Sarah Paulson totally embody their roles, charmingly parrying each other with affection and skill. Director Michael Wilson's unseen hands brings out the poetry and reality of this battle for a love partnership between two disparate personalities and social classes.
Wilson's play provides a charming vehicle for these theatre artists to win our affection.
VANYA AND SONIA AND MASHA AND SPIKE
at Lincoln Center's Newhouse Theater
(Seen November 18, 2012)
With a wink and a nod to Chekov, Chris Durang has written a delightful new play, full of fun and satire, and peopled with characters you might enjoy spending an evening with.
Shades of THE SEAGULL and UNCLE VANYA may lurk in the shadows, but only in a good-hearted way. Durang has set his comic play in a home in Bucks County, PA, present day. Sister and brother Sonia and Vanya inhabit the decaying family homestead, where they have put their lives and ambitions 'on hold' to tend to their late mother. Meanwhile, sister Masha has become a rich movie star -- and the breadwinner for the family. Add a Caribe housekeeper, Cassandra; a boy-toy for Masha named Spike; and a dewy-eyed young neighbor named Nina, to complete a burgeoning household.
David Hyde Pierce snugly and comfortably fits his role of Vanya, while Kristine Nielsen's Sonia is touching and funny. Siguorney Weaver seems to relish being Masha, while Billy Magnussen thrives as Spike. Shalita Grant strides through the role of Cassandra, and Genevieve Angelson personifies her ingenue role.
Durang has developed bright and clever dialogue for his characters, and despite some over-long monologues, this entertaining work is one of the best plays of the new season.
at Lincoln Center's Newhouse Theater
(Seen November 18, 2012)
With a wink and a nod to Chekov, Chris Durang has written a delightful new play, full of fun and satire, and peopled with characters you might enjoy spending an evening with.
Shades of THE SEAGULL and UNCLE VANYA may lurk in the shadows, but only in a good-hearted way. Durang has set his comic play in a home in Bucks County, PA, present day. Sister and brother Sonia and Vanya inhabit the decaying family homestead, where they have put their lives and ambitions 'on hold' to tend to their late mother. Meanwhile, sister Masha has become a rich movie star -- and the breadwinner for the family. Add a Caribe housekeeper, Cassandra; a boy-toy for Masha named Spike; and a dewy-eyed young neighbor named Nina, to complete a burgeoning household.
David Hyde Pierce snugly and comfortably fits his role of Vanya, while Kristine Nielsen's Sonia is touching and funny. Siguorney Weaver seems to relish being Masha, while Billy Magnussen thrives as Spike. Shalita Grant strides through the role of Cassandra, and Genevieve Angelson personifies her ingenue role.
Durang has developed bright and clever dialogue for his characters, and despite some over-long monologues, this entertaining work is one of the best plays of the new season.
WHO'S AFRAID OF VIRGINIA WOOLF at the Booth Theatre
(Seen October 23, 2012)
For many of us, the definitive production of VIRGINIA WOOLF was the original, with Uta Hagen in a memorable performance. In a number of revivals through the years, not one has quite surpassed that in my memory. But now director Pam MacKinnon has created a noteworthy presentation with an overpowering performance by Tracy Letts.
Tracy Letts, who won all kinds of awards as the author of AUGUST: OSAGE COUNTY several years ago, returns to his acting roots. Originating at the Steppenwolf Theatre Company in Chicago, Letts unexpectedly creates what is probably the finest performance this season. Every movement and action throbs in his persona. He is strongly matched by Amy Morton, with equal passion. Carrie Coon and Madison Dirks complete this tight ensemble cast.
This is certainly a revival that should be seen by every theatre lover. Edward Albee could not ask for a better interpretation than what these five theatre artists have achieved.
(Seen October 23, 2012)
For many of us, the definitive production of VIRGINIA WOOLF was the original, with Uta Hagen in a memorable performance. In a number of revivals through the years, not one has quite surpassed that in my memory. But now director Pam MacKinnon has created a noteworthy presentation with an overpowering performance by Tracy Letts.
Tracy Letts, who won all kinds of awards as the author of AUGUST: OSAGE COUNTY several years ago, returns to his acting roots. Originating at the Steppenwolf Theatre Company in Chicago, Letts unexpectedly creates what is probably the finest performance this season. Every movement and action throbs in his persona. He is strongly matched by Amy Morton, with equal passion. Carrie Coon and Madison Dirks complete this tight ensemble cast.
This is certainly a revival that should be seen by every theatre lover. Edward Albee could not ask for a better interpretation than what these five theatre artists have achieved.
IF THERE IS I HAVEN'T FOUND IT YET
at the Roundabout's Laura Pels Theatre
(Seen September 27, 2012)
Who would have thought that global warming could destroy a marriage and make a family dysfunctional? British playwright Nick Payne has written an obtuse play where water is a major player.
Rain and a moat separate the audience from the players --- who wind up in water up to their ankles, with their furniture specifically thrown in a heap upstage. But the four characters --- a couple, their daughter, and the husband's younger brother --- drown in metaphors before the water can do more damage.
Jake Gyllenhaal has chosen this play to make his New York stage debut, and is properly off-beat as the brother/uncle in this troubled family. Brian O'Byrne is passionate as the husband who totally neglects his family in the pursuit of his search regarding global warming. Michelle Gomez and Annie Funke are the long-suffering wife and daughter, and acquit themselves admirably.
Director Michael Longhurst has not brought any clarity nor depth to the muddled antics of his cast. The superficiality of the dialogue isn't overcome by strong performances.
at the Roundabout's Laura Pels Theatre
(Seen September 27, 2012)
Who would have thought that global warming could destroy a marriage and make a family dysfunctional? British playwright Nick Payne has written an obtuse play where water is a major player.
Rain and a moat separate the audience from the players --- who wind up in water up to their ankles, with their furniture specifically thrown in a heap upstage. But the four characters --- a couple, their daughter, and the husband's younger brother --- drown in metaphors before the water can do more damage.
Jake Gyllenhaal has chosen this play to make his New York stage debut, and is properly off-beat as the brother/uncle in this troubled family. Brian O'Byrne is passionate as the husband who totally neglects his family in the pursuit of his search regarding global warming. Michelle Gomez and Annie Funke are the long-suffering wife and daughter, and acquit themselves admirably.
Director Michael Longhurst has not brought any clarity nor depth to the muddled antics of his cast. The superficiality of the dialogue isn't overcome by strong performances.
TEN CHIMNEYS at the Theatre at St. Clement's
(Seen September 29th, 2012)
One of the many problems in creating a play based on real people --- especially theatre icons --- is representing them as the recognizable personalities that we associate with these stars of a past generation.
Jeffrey Hatcher has fearlessly brought together Alfred Lunt, Lynn Fontanne, Sydney Greenstreet, and Uta Hagen, among others, to spend some time at the Lunt-Fontanne homestead --- TEN CHIMNEYS --- in rural Wisconsin.
Life-changing encounters ensue as Hatcher drags out all the revelations of everyone's private lives, in their pursuits of their artistic ambitions and goals. The would-be sophistication of these people and their lives, however, never seem believable.
Hatcher's attempts to draw parallels from THE SEAGULL --- which they rehearse during the play --- doesn't really develop well. It is a would-be drawing-room comedy bathed in soap opera, with a touch of farce. And the earnest cast cannot overcome the heavy-handed writing and the leisurely direction of Dan Wackerman
(Seen September 29th, 2012)
One of the many problems in creating a play based on real people --- especially theatre icons --- is representing them as the recognizable personalities that we associate with these stars of a past generation.
Jeffrey Hatcher has fearlessly brought together Alfred Lunt, Lynn Fontanne, Sydney Greenstreet, and Uta Hagen, among others, to spend some time at the Lunt-Fontanne homestead --- TEN CHIMNEYS --- in rural Wisconsin.
Life-changing encounters ensue as Hatcher drags out all the revelations of everyone's private lives, in their pursuits of their artistic ambitions and goals. The would-be sophistication of these people and their lives, however, never seem believable.
Hatcher's attempts to draw parallels from THE SEAGULL --- which they rehearse during the play --- doesn't really develop well. It is a would-be drawing-room comedy bathed in soap opera, with a touch of farce. And the earnest cast cannot overcome the heavy-handed writing and the leisurely direction of Dan Wackerman
CHAPLIN THE MUSICAL at the Ethel Barrymore Theatre
(Seen September 12, 2012)
While CHAPLIN... is not the show that Charlie Chaplin deserves, it is an olio of the events and elements that made him the movie star and multi-talented artist that created a score of great motion pictures. His films always reached out and touched the hearts of his audience.
CHAPLIN... may be superficial in its depiction of those events in his life, but despite its shortcomings, it is an entertaining show. Underneath all the glitz, it's a story of a lonely tramp always looking for love in the wrong places and with the wrong people. But finally, with his last wife, Oona, he finds a soul-mate who loves him for himself, rather than for his persona and public image.
Rob McClure inhabits Chaplin comfortably, in all aspects --- performer, dancer, singer. He may be low-key, but he is always believable. The entire cast works well as an ensemble, with fine work from Christiane Noll as his unbalanced mother, Michael McCormick in multiple roles, and particularly Zachary Unger as both the young Charlie and as Jackie Coogan.
The book is by Christopher Curtis and veteran Thomas Meehan, with music and lyrics by Curtis. Warren Carlyle directed and choreographed with a light hand, with set designs by Beowulf Boritt. Though far from perfect, it is a show that deserves a long run.
(Seen September 12, 2012)
While CHAPLIN... is not the show that Charlie Chaplin deserves, it is an olio of the events and elements that made him the movie star and multi-talented artist that created a score of great motion pictures. His films always reached out and touched the hearts of his audience.
CHAPLIN... may be superficial in its depiction of those events in his life, but despite its shortcomings, it is an entertaining show. Underneath all the glitz, it's a story of a lonely tramp always looking for love in the wrong places and with the wrong people. But finally, with his last wife, Oona, he finds a soul-mate who loves him for himself, rather than for his persona and public image.
Rob McClure inhabits Chaplin comfortably, in all aspects --- performer, dancer, singer. He may be low-key, but he is always believable. The entire cast works well as an ensemble, with fine work from Christiane Noll as his unbalanced mother, Michael McCormick in multiple roles, and particularly Zachary Unger as both the young Charlie and as Jackie Coogan.
The book is by Christopher Curtis and veteran Thomas Meehan, with music and lyrics by Curtis. Warren Carlyle directed and choreographed with a light hand, with set designs by Beowulf Boritt. Though far from perfect, it is a show that deserves a long run.
COUGAR THE MUSICAL at St. Lukes' Theatre
(Seen August 22, 2012)
Recent years have seen an increased coupling of younger men with older women, so naturally, Donna Moore and director-choreographer Lynne Taylor-Corbett have collaborated on concocting a light-hearted musical romp on this current craze.
They have us follow the mis-adventures in the lives of three disparate women, as they encounter love and loss in the city. We experience their good times and their bad times as they meander their way, searching for a satisfying -- and hopefully, meaningful -- love life.
Danny Bernardy plays all the various men in the affairs of Brenda Braxton, Catherine Porter, and Babs Winn. It is a harmless and usually entertaining look at relationships.
(Seen August 22, 2012)
Recent years have seen an increased coupling of younger men with older women, so naturally, Donna Moore and director-choreographer Lynne Taylor-Corbett have collaborated on concocting a light-hearted musical romp on this current craze.
They have us follow the mis-adventures in the lives of three disparate women, as they encounter love and loss in the city. We experience their good times and their bad times as they meander their way, searching for a satisfying -- and hopefully, meaningful -- love life.
Danny Bernardy plays all the various men in the affairs of Brenda Braxton, Catherine Porter, and Babs Winn. It is a harmless and usually entertaining look at relationships.
OLD JEWS TELLING JOKES at the Westside Theatre
(Seen August 15, 2012)
Peter Gethers and Daniel Okrent have compiled a collection of the worst of the 'Borscht Belt' type jokes, and five performers of varying talents try to entertain us. Mostly silly, occasionally offensive, always hokey, director Marc Bruni has them all shamelessly mugging and winking to make sure we get the jokes.
This is another of those manufactured shows targeting a specific audience. Admittedly, while I grimaced and suffered silently, the audience laughed loudly at all the double-entendres and embarrassing humor.
I'll avoid listing the names of the joke-tellers, because I know they are capable of better things.
(Seen August 15, 2012)
Peter Gethers and Daniel Okrent have compiled a collection of the worst of the 'Borscht Belt' type jokes, and five performers of varying talents try to entertain us. Mostly silly, occasionally offensive, always hokey, director Marc Bruni has them all shamelessly mugging and winking to make sure we get the jokes.
This is another of those manufactured shows targeting a specific audience. Admittedly, while I grimaced and suffered silently, the audience laughed loudly at all the double-entendres and embarrassing humor.
I'll avoid listing the names of the joke-tellers, because I know they are capable of better things.
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