THE LAST SHIP at the Neil Simon Theatre
(Seen November 27, 2014)
This is a charismatic tale about a Northern England ship-building town facing problems with the loss of its' singular industry. It is also a love story about a young man who leaves this home to find a better life for himself on the sea --- leaving behind his young lover, to whom he promises to return. These two characters, however, are lost in the larger story, and fade into the background, leaving us without a focus other than the ship.
The societal aspects it is framed against are reminiscent of BILLY ELLIOT, but its' characters are less appealing, and it doesn't have a happy ending.
Unfortunately, Sting's score has more tempo than melody. The beat is there but the music feels lacking in texture. And the book by John Logan and Brian Yorkey is repetitive and doesn't involve and capture the audience.
The ensemble cast is first-rate, even they are burdened with stereotypical characters, along with a unbelievable (even if based on truth) story of a town that defies the authorities to build and launch one last ship.
The show has gusto and bravado, but lacks soul.
8/30/15
IT'S ONLY A PLAY at the Schoenfeld Theatre
(Seen November 22, 2014)
This is a very entertaining, if shallow, play. And its' star-studded cast plays along with the conceit of making fun of themselves.
Playwright Terrence McNally has updated many references to tickle the fancy of an in-the-know audience.
His story of an opening night party in the posh home of its' flighty producer doesn't mess around with its' pointed references to critics and actors and playwrights. And Nathan Lane's character delights in taking jabs at the real Nathan Lane (without actually naming him).
F. Murray Abraham, Matthew Broderick, Stockard Channing, Megan Mullally, along with Nathan Lane, all seem to relish their clever dialogue and farcical pursuits. Director Jack O'Brien has paced his cast well. An enjoyable venture for cast and audiences.
(Seen November 22, 2014)
This is a very entertaining, if shallow, play. And its' star-studded cast plays along with the conceit of making fun of themselves.
Playwright Terrence McNally has updated many references to tickle the fancy of an in-the-know audience.
His story of an opening night party in the posh home of its' flighty producer doesn't mess around with its' pointed references to critics and actors and playwrights. And Nathan Lane's character delights in taking jabs at the real Nathan Lane (without actually naming him).
F. Murray Abraham, Matthew Broderick, Stockard Channing, Megan Mullally, along with Nathan Lane, all seem to relish their clever dialogue and farcical pursuits. Director Jack O'Brien has paced his cast well. An enjoyable venture for cast and audiences.
BILLY AND RAY at the Vineyard Theatre
(Seen November, 2014)
This play illuminates a beginning chapter in the collaborative life of Billy Wilder and Raymond Chandler as they embark on a successful film partnership.
Director Garry Marshall has his small cast working at a frenzy, as if this was a '30s 'B' movie --- full of their hype and style and stereotype. And he has them all do repetitive actions as if there was some meaning to these actions! Among the strange actions, his various characters are endlessly adjusting the blinds in the room --- as if it were significant!
Although he strives for the ambiance of a Wilder movie, he only gets a staccato race through the situation. Even the fine work of Larry Pine as Chandler is lost in the sought-for Wilder style.
(Seen November, 2014)
This play illuminates a beginning chapter in the collaborative life of Billy Wilder and Raymond Chandler as they embark on a successful film partnership.
Director Garry Marshall has his small cast working at a frenzy, as if this was a '30s 'B' movie --- full of their hype and style and stereotype. And he has them all do repetitive actions as if there was some meaning to these actions! Among the strange actions, his various characters are endlessly adjusting the blinds in the room --- as if it were significant!
Although he strives for the ambiance of a Wilder movie, he only gets a staccato race through the situation. Even the fine work of Larry Pine as Chandler is lost in the sought-for Wilder style.
A STOOL AT THE END OR THE BAR at 59E59
(Seen November 18, 2014)
This is a complicated, if simplistic, story of a transgender man living as the wife of a blue-collar working-man and his three children. Suddenly the family discovers that the loving wife and step-mother was born as a male.
The husband's reactions are volatile, as he searches his soul for answers --- doubting his own masculinity along the way. He is angry and hurt, while his children are full of bewilderment.
Unfortunately, the characters are stereotypical, and despite a lengthy back-story, the character of the wife is under-developed. Because of this, the character comes across as somewhat indifferent and aloof. She seems unable to understand her family's reactions.
As with far too many plays these days, the action just stops. Although in real life there are loose ends without a real resolution, we expect more in a dramatic work. The play also fails to give the audience an emotional involvement.
(Seen November 18, 2014)
This is a complicated, if simplistic, story of a transgender man living as the wife of a blue-collar working-man and his three children. Suddenly the family discovers that the loving wife and step-mother was born as a male.
The husband's reactions are volatile, as he searches his soul for answers --- doubting his own masculinity along the way. He is angry and hurt, while his children are full of bewilderment.
Unfortunately, the characters are stereotypical, and despite a lengthy back-story, the character of the wife is under-developed. Because of this, the character comes across as somewhat indifferent and aloof. She seems unable to understand her family's reactions.
As with far too many plays these days, the action just stops. Although in real life there are loose ends without a real resolution, we expect more in a dramatic work. The play also fails to give the audience an emotional involvement.
FATHER COMES HOME FROM THE WAR
at the Public Theater
(Seen November, 2014)
Suzan-Lori Parker's latest play at her home base, the Public Theater, suffers from her conceit of the work as a Greek tragedy. The characters sport classic Greek names, and the chorus of illiterate slaves spout words of wisdom, mostly to the audience.
Despite the fine cast, with true ensemble spirit, the show comes cross as precious rather than meaningful.
Presented in three "parts" of a projected nine cycle work, only the middle part presents real dramatic conflict. Hero, our protagonist, is faced with a choice of freedom versus loyalty to his abusive 'master'. With a hint of free will, he frees the Yankee prisoner in his charge, but follows his 'master' into battle.
A turn of events in Part 3 sets things in motion in anticipation of the next segments of the would-be epic work.
Director Jo Bonney often has the characters turn and talk to the audience in the middle of a speech between two actors, which detracts from any dramatic interplay between the characters. A worthy undertaking which doesn't achieve its' expected goals.
at the Public Theater
(Seen November, 2014)
Suzan-Lori Parker's latest play at her home base, the Public Theater, suffers from her conceit of the work as a Greek tragedy. The characters sport classic Greek names, and the chorus of illiterate slaves spout words of wisdom, mostly to the audience.
Despite the fine cast, with true ensemble spirit, the show comes cross as precious rather than meaningful.
Presented in three "parts" of a projected nine cycle work, only the middle part presents real dramatic conflict. Hero, our protagonist, is faced with a choice of freedom versus loyalty to his abusive 'master'. With a hint of free will, he frees the Yankee prisoner in his charge, but follows his 'master' into battle.
A turn of events in Part 3 sets things in motion in anticipation of the next segments of the would-be epic work.
Director Jo Bonney often has the characters turn and talk to the audience in the middle of a speech between two actors, which detracts from any dramatic interplay between the characters. A worthy undertaking which doesn't achieve its' expected goals.
THE RIVER at Circle-In-The-Square Theatre
(Seen November 2, 2014)
Jez Butterworth's new play is a vehicle for the Broadway return of Hugh Jackman in a non-musical role. But despite Jackman's reliable work, it is a tedious, and at times, vague play.
The story unfolds intermingling present and past, as Jackman's character is searching for real love. It's a confused journey, taking place in a cabin on a river where he loves to fish.
His current and past love co-inhabit the search, and their inter-actions are often unclear. And the constant talk about fishing --- his real love ---overshadows everything else!
Unlike Butterworth's last Broadway show, JERUSALEM --- which served as a vehicles for Mark Rylance --- this comes across as an unbelievable and unfulfilling work.
(Seen November 2, 2014)
Jez Butterworth's new play is a vehicle for the Broadway return of Hugh Jackman in a non-musical role. But despite Jackman's reliable work, it is a tedious, and at times, vague play.
The story unfolds intermingling present and past, as Jackman's character is searching for real love. It's a confused journey, taking place in a cabin on a river where he loves to fish.
His current and past love co-inhabit the search, and their inter-actions are often unclear. And the constant talk about fishing --- his real love ---overshadows everything else!
Unlike Butterworth's last Broadway show, JERUSALEM --- which served as a vehicles for Mark Rylance --- this comes across as an unbelievable and unfulfilling work.
YOU CAN'T TAKE IT WITH YOU at the Longacre Theatre
(Seen September, 2014)
With a stellar cast headed by James Earl Jones, and including Elizabeth Ashley, Mark-Linn Baker, Julie Halston, and a host of excellent actors, this revival, though dated, is totally entertaining.
This American classic by Moss Hart and George S. Kaufman holds up remarkably well, and even occasionally relates to contemporary politics and society.
While it sometimes verges on caricature in the writing, the willing cast throws itself into the comedic material with a truthfulness and commitment to the varied and eccentric characters, so that there is some sense of reality.
Director Scott Ellis is consistent with the attitudes of the play, which contributes tou our acceptance and enjoyment of the show.
(Seen September, 2014)
With a stellar cast headed by James Earl Jones, and including Elizabeth Ashley, Mark-Linn Baker, Julie Halston, and a host of excellent actors, this revival, though dated, is totally entertaining.
This American classic by Moss Hart and George S. Kaufman holds up remarkably well, and even occasionally relates to contemporary politics and society.
While it sometimes verges on caricature in the writing, the willing cast throws itself into the comedic material with a truthfulness and commitment to the varied and eccentric characters, so that there is some sense of reality.
Director Scott Ellis is consistent with the attitudes of the play, which contributes tou our acceptance and enjoyment of the show.
WAITING FOR GODOT at the Barrow St. Playhouse
(Seen September 7, 2014)
I know that theatre-goers should not have expectations about a show, and yet I assumed that GODOT.... in Yiddish would add more of an aspect of place ---- post-Holocaust.
Instead, this turned out to be a pretty straight-forward production.
The English super-titles, projected high above the action, were a distraction, though necessary for most of the audience.
The small cast were all capable and interesting, and the audience seemed totally into the now-classic play. Strangely, Yiddish did, at times, seem to lighten the dialogue, so it brought out the humor and pathos.
8/21/15
THE KING AND I at the Vivian Beaumont Theatre
(Seen May 2, 2015)
From the opening scene, with a huge ship approaching the audience, while underneath a full orchestra, visible to the audience, is playing the overture, THE KING AND I sails into our collective hearts.
It is an enduring Rodgers and Hammerstein masterpiece of musical theatre, still fresh and meaningful through multiple revivals. As directed by Bartlett Sher, it scores as an outstanding musical treat.
Its' huge cast is headed by Kelli O'Hara, who sings and moves and acts like she is a person in charge of her life. Ken Watanabe's King is impressive, and Anna's son is given life by Jake Lucas, in an impressive depiction of a young man of his times.
The entire cast is most impressive --- the King's wives, his many children, a pair of young lovers, and the people who serve them all.
The setting throughout --- not only the ship's arrival --- maintains the feeling of spectacle while being simple and decorative.
A very welcome revival at Lincoln Center!
(Seen May 2, 2015)
From the opening scene, with a huge ship approaching the audience, while underneath a full orchestra, visible to the audience, is playing the overture, THE KING AND I sails into our collective hearts.
It is an enduring Rodgers and Hammerstein masterpiece of musical theatre, still fresh and meaningful through multiple revivals. As directed by Bartlett Sher, it scores as an outstanding musical treat.
Its' huge cast is headed by Kelli O'Hara, who sings and moves and acts like she is a person in charge of her life. Ken Watanabe's King is impressive, and Anna's son is given life by Jake Lucas, in an impressive depiction of a young man of his times.
The entire cast is most impressive --- the King's wives, his many children, a pair of young lovers, and the people who serve them all.
The setting throughout --- not only the ship's arrival --- maintains the feeling of spectacle while being simple and decorative.
A very welcome revival at Lincoln Center!
SOMETHING ROTTEN at the St. James Theatre
(Seen April 30, 2015)
It's always a welcome surprise when I go to a show that I expect to despise, and I actually enjoy it. I have problems with shows that keep saying "Look how clever I am!", while I am suffering at the ridiculousness of it all.
While SOMETHING ROTTEN borders on that, it actually is clever and silly without going over the top, And of course, having Brian D'Arcy James as a major player, does help.
This story of how the first musical came to be written is funny. With Shakespeare as a contemporary, two brothers --- would-be playwrights --- try to eke out a living in the shadow of Shakespeare, who is a hot-shot London idol, equivalent to a present day rock star.
Christian Borle's Shakespeare is a preening dandy who makes it big as the premiere writer of his time. He is not above stealing ideas and plots from his circle of theatre cronies.
James' Nick is told by a phony seer (Brad Oscar) that the next big phase of theatre lies in musicals --- a seemingly crazy idea at the time. And the play enfolds from that prediction, as Nick and his brother try to create the first musical --- called OMELET, the seer's misreading of HAMLET.
The show has lots of 'inside' show business allusions. And while it often approaches caricature, it maintains a comedic spirit without going over the line too much. All in all, an entertaining romp!
(Seen April 30, 2015)
It's always a welcome surprise when I go to a show that I expect to despise, and I actually enjoy it. I have problems with shows that keep saying "Look how clever I am!", while I am suffering at the ridiculousness of it all.
While SOMETHING ROTTEN borders on that, it actually is clever and silly without going over the top, And of course, having Brian D'Arcy James as a major player, does help.
This story of how the first musical came to be written is funny. With Shakespeare as a contemporary, two brothers --- would-be playwrights --- try to eke out a living in the shadow of Shakespeare, who is a hot-shot London idol, equivalent to a present day rock star.
Christian Borle's Shakespeare is a preening dandy who makes it big as the premiere writer of his time. He is not above stealing ideas and plots from his circle of theatre cronies.
James' Nick is told by a phony seer (Brad Oscar) that the next big phase of theatre lies in musicals --- a seemingly crazy idea at the time. And the play enfolds from that prediction, as Nick and his brother try to create the first musical --- called OMELET, the seer's misreading of HAMLET.
The show has lots of 'inside' show business allusions. And while it often approaches caricature, it maintains a comedic spirit without going over the line too much. All in all, an entertaining romp!
HAMILTON at the Public Theater
(Seen March 1, 2015)
The theatre boasts a number of what we call "triple-threat" artists --- in this case, we have a quadruple threat: book, music, lyrics --- and star! This, of course, is Lin-Manual Miranda.
Miranda, of course, first came to theatre prominence with his musical IN THE HEIGHTS, in which he was also a featured member of the large cast. But with HAMILTON, he seems to have developed his talents to a new and highly successful level.
Musically, he blends old-fashioned melody with hip-hop, and uses both to great advantage. And as an actor/singer, he leads a greatly talented cast, who all act/sing/dance appropriately, especially Phillipa Soo (who recently starred in NATASHA, PIERRE....).
Special mention must be made of Brian D'Arcy James, whose insets into the American saga, as King George, are delightful, both his stand-out performance and the clever writing. The vignettes featuring James are gems of entertainment.
[ I find myself in the minority of reviewers of this show, because although I think this is a major musical achievement, I have some problems with all of our "founding fathers" being either Black or Hispanic. Though all the performances are excellent, I found the casting somewhat distracting. But that no way lessens the impact of Miranda's accomplishments.]
(Seen March 1, 2015)
The theatre boasts a number of what we call "triple-threat" artists --- in this case, we have a quadruple threat: book, music, lyrics --- and star! This, of course, is Lin-Manual Miranda.
Miranda, of course, first came to theatre prominence with his musical IN THE HEIGHTS, in which he was also a featured member of the large cast. But with HAMILTON, he seems to have developed his talents to a new and highly successful level.
Musically, he blends old-fashioned melody with hip-hop, and uses both to great advantage. And as an actor/singer, he leads a greatly talented cast, who all act/sing/dance appropriately, especially Phillipa Soo (who recently starred in NATASHA, PIERRE....).
Special mention must be made of Brian D'Arcy James, whose insets into the American saga, as King George, are delightful, both his stand-out performance and the clever writing. The vignettes featuring James are gems of entertainment.
[ I find myself in the minority of reviewers of this show, because although I think this is a major musical achievement, I have some problems with all of our "founding fathers" being either Black or Hispanic. Though all the performances are excellent, I found the casting somewhat distracting. But that no way lessens the impact of Miranda's accomplishments.]
THE VISIT at the Lyceum Theatre
(Seen April 22, 2015)
After lingering outside New York for many, many years, Kander/Ebb/McNally's musical version of THE VISIT has happily arrived on Broadway. This dark version of Durenmatt's original play comes across as a stark and dark depiction of society and of personal human behavior.
Chita Rivera and Roger Rees bring a wonderful presence to the two leading characters, both acting-wise and musically. Director John Doyle brings both a stylized and minimal approach to the material, and succeeds in both genres.
Graciela Daniele's simplistic modern dance choreography is highly effective, particularly by the younger versions of Rivera's and Rees' characters, beautifully played by Michelle Ventimilla and John Riddle.
Actually, the entire cast is first rate, inhabiting their stylized roles, and carrying out the new vision of THE VISIT. I highly recommend a visit to this stark and highly entertaining theatre event.
(Seen April 22, 2015)
After lingering outside New York for many, many years, Kander/Ebb/McNally's musical version of THE VISIT has happily arrived on Broadway. This dark version of Durenmatt's original play comes across as a stark and dark depiction of society and of personal human behavior.
Chita Rivera and Roger Rees bring a wonderful presence to the two leading characters, both acting-wise and musically. Director John Doyle brings both a stylized and minimal approach to the material, and succeeds in both genres.
Graciela Daniele's simplistic modern dance choreography is highly effective, particularly by the younger versions of Rivera's and Rees' characters, beautifully played by Michelle Ventimilla and John Riddle.
Actually, the entire cast is first rate, inhabiting their stylized roles, and carrying out the new vision of THE VISIT. I highly recommend a visit to this stark and highly entertaining theatre event.
BEDBUGS at the Arclight Theatre
(Seen October 26, 2014)
I saw this show at a performance which co-incidentally co-insided with the Comic Con Convention in New York. Those patrons would have loved and related to this musical fantasy, which has a comic book/graphic novel approach.
Creators Paul Leschen and Fred Sauter take us into a world where the bedbugs were seemingly rampant in 1989 New York City. Led by the leader of the bedbug hordes, they want to kill all those New Yorkers who stand in their way. They are opposed by a singularly dedicated scientist who is equally intent in finding a chemical solution to destroy all the bedbugs.
Flash forward to contemporary NYC, and the struggle still persists,
with the bedbugs seemingly being more successful than the humans. Enter romance, with the male leader bedbug and the female scientist falling in love! But the struggle goes on.
The ensemble cast seems to inhabit their roles and the material, with relish and fervor. Although this is totally not my personal vision of musical theatre, the audience was overwhelming in its' approval.
(Seen October 26, 2014)
I saw this show at a performance which co-incidentally co-insided with the Comic Con Convention in New York. Those patrons would have loved and related to this musical fantasy, which has a comic book/graphic novel approach.
Creators Paul Leschen and Fred Sauter take us into a world where the bedbugs were seemingly rampant in 1989 New York City. Led by the leader of the bedbug hordes, they want to kill all those New Yorkers who stand in their way. They are opposed by a singularly dedicated scientist who is equally intent in finding a chemical solution to destroy all the bedbugs.
Flash forward to contemporary NYC, and the struggle still persists,
with the bedbugs seemingly being more successful than the humans. Enter romance, with the male leader bedbug and the female scientist falling in love! But the struggle goes on.
The ensemble cast seems to inhabit their roles and the material, with relish and fervor. Although this is totally not my personal vision of musical theatre, the audience was overwhelming in its' approval.
LENNON Through A Glass Onion at the Union Square Theatre
(Seen October 25, 2014)
This is mainly a concert disguised as a play. It is a vehicle for John R. Waters, who conceived and performs the music of John Lennon. He takes on the personna of Lennon, and its' some three dozen songs are interspersed with the 1st-person narrative of Lennon's professional and social development.
Rather than trying to emulate Lennon's sound and interpretation, Waters gives us a dramatic attitude which is both effective and precise. He is ably assisted by pianist/vocalist Stewart D'Arrietta.
The show is a feast for Lennon fans, and the audience mainly responded approvingly. Waters, an Australian star at home, has been performing this show for more than 20 years. He captures Lennon's moods of early desperation and later acceptance, with a relative contentment before his untimely murder by a deranged stalker.
It is a fitting tribute to a talented and troubled icon
UNCLE VANYA at the Pearl Theatre Company
(Seen September 30, 2014)
UNCLE VANYA, one of the reasons so many modern plays are called 'Chekovian', is a classic story of unfullfillment and loss, set in Russia's pre-revolutionary period.
An extended family portrait, we enter their world of a country house and a family in distress, where each one is disappointed at the way their life has played out, emotionally, as they crave prople they cannot have.
This production is fairly straightforward, without any gimmicks or time shifting, and is rather faithful to the material in its' interpretation.
The cast is well-suited to the material, but the director has decided to have them act at such high pitch that they sometimes verge on caricature. They become mannered and obvious, which tends to distract us from Chekov's deep emotional context.
(Seen September 30, 2014)
UNCLE VANYA, one of the reasons so many modern plays are called 'Chekovian', is a classic story of unfullfillment and loss, set in Russia's pre-revolutionary period.
An extended family portrait, we enter their world of a country house and a family in distress, where each one is disappointed at the way their life has played out, emotionally, as they crave prople they cannot have.
This production is fairly straightforward, without any gimmicks or time shifting, and is rather faithful to the material in its' interpretation.
The cast is well-suited to the material, but the director has decided to have them act at such high pitch that they sometimes verge on caricature. They become mannered and obvious, which tends to distract us from Chekov's deep emotional context.
ALMOST HOME at the Acorn Theatre
(Seen September 28, 2014)
Walter Anderson has created a play examining another dysfunctional family in the Bronx. The time is 1965, and the young son has returned home from the war. A marine hero, he is plagued by the memory of not being able to save his wounded and dying best friend.
He is a young man who has risen above his early misdeeds and environment to achieve success in the Marines. His plans to attend college are thwarted by his feeling responsible to pay off the debts of his often-drunken and abusive father. His father has a shady background, and has relied on a police captain in the local precinct to keep him out of jail.
One of the play's many problems is that the mostly realistic situations often border on caricature, and strains our credulity. The scenes are erratic and somewhat predictable. But most distracting in this family melodrama, is that the play stops, rather than ending. The resolution is left to the audience's conjecture.
(Seen September 28, 2014)
Walter Anderson has created a play examining another dysfunctional family in the Bronx. The time is 1965, and the young son has returned home from the war. A marine hero, he is plagued by the memory of not being able to save his wounded and dying best friend.
He is a young man who has risen above his early misdeeds and environment to achieve success in the Marines. His plans to attend college are thwarted by his feeling responsible to pay off the debts of his often-drunken and abusive father. His father has a shady background, and has relied on a police captain in the local precinct to keep him out of jail.
One of the play's many problems is that the mostly realistic situations often border on caricature, and strains our credulity. The scenes are erratic and somewhat predictable. But most distracting in this family melodrama, is that the play stops, rather than ending. The resolution is left to the audience's conjecture.
SCENES FROM A MARRIAGE at the New York THEATRE WORKSHOP
(Seen September 27, 2014)
After a melange in the first act, the second act becomes a melee! Director Ivan Van Hove has turned the classic Bergmann film into another of his experimental exercises. The result is an unfocussed journey of a couple's various stages of relationship, with three disparate couples depicting the same couple as they age and as their marriage disintegrates.
For no other reason than an errant device, he has divided the NYTW space into three small theatre areas. He has parts of the audience move to an adjacent space after each half-hour scene. Eventually, the audience comes together for the second act, after the theatre barriers are removed. The only thing this device achieves is a lack of comprehension --- which is also contributed to by having his actors feign a sense of improvisation.
Unfortunately, at none of the stages of the marriage, do any of the three different couples ever show a chemistry of attraction to one another, which makes us doubt that a relationship could ever begin! The wife, especially in the final stage of the marriage, is an excessively needy woman, who is often self-destructive.
In the sercond act, all six actors interact with one another, often switching their time differences. The improvisational feeling of the script is enhanced to a point of total unreality. Van Hove even has a scene of the eldest Johan uncharacteristically dragging his wife by her legs across the huge expanse of the now theatre-in-the-round stage.
The whole second act is unnecessarily drawn out, and misses any insight as to why they act the way they do!
Van Hove's approach to theatre, as evidenced by this and his previous work at NYTW, seems to be attempts to deconstruct established theatre pieces simply for the sake of deconstruction!@
(Seen September 27, 2014)
After a melange in the first act, the second act becomes a melee! Director Ivan Van Hove has turned the classic Bergmann film into another of his experimental exercises. The result is an unfocussed journey of a couple's various stages of relationship, with three disparate couples depicting the same couple as they age and as their marriage disintegrates.
For no other reason than an errant device, he has divided the NYTW space into three small theatre areas. He has parts of the audience move to an adjacent space after each half-hour scene. Eventually, the audience comes together for the second act, after the theatre barriers are removed. The only thing this device achieves is a lack of comprehension --- which is also contributed to by having his actors feign a sense of improvisation.
Unfortunately, at none of the stages of the marriage, do any of the three different couples ever show a chemistry of attraction to one another, which makes us doubt that a relationship could ever begin! The wife, especially in the final stage of the marriage, is an excessively needy woman, who is often self-destructive.
In the sercond act, all six actors interact with one another, often switching their time differences. The improvisational feeling of the script is enhanced to a point of total unreality. Van Hove even has a scene of the eldest Johan uncharacteristically dragging his wife by her legs across the huge expanse of the now theatre-in-the-round stage.
The whole second act is unnecessarily drawn out, and misses any insight as to why they act the way they do!
Van Hove's approach to theatre, as evidenced by this and his previous work at NYTW, seems to be attempts to deconstruct established theatre pieces simply for the sake of deconstruction!@
LOVE LETTERS at the Brooks Atkinson Theatre
(Seen September 24, 2014)
I had forgotten how powerful a two-character play could be with the right confluence of playwright, performers, and director. A. R. Gurney's simple, finely wrought story, with two people sitting at a table, facing the audience, is a dramatic tour-de-force. Mia Farrow and Brian Dennehy embody the 50-year friendship -- and sometimes, lovers --- that have shaped their lives.
As privileged WASP children (she more privileged than he), they first meet in their private elementary school. Their lives unfold for us through letters written to each other --- mostly at his instigation, since she prefers the telephone!
His letters are informative; hers, brief responses. But we watch their relationship grow, and splinter, and revive, as they each deal with their individual family lives.
Gurney's perceptive writing, the virtuoso acting of two creative performers, and the unseen presence of director Gregory Mosher, all come together to give us a theatrical experience that is meaningful and enjoyable.
Farrow and Dennehy are the first pair of stars who will be playing these roles in limited periods. The succeeding duos will have an exceptionally high standard to measure up to. Mia Farrow's return to Broadway is especially welcome!
(Seen September 24, 2014)
I had forgotten how powerful a two-character play could be with the right confluence of playwright, performers, and director. A. R. Gurney's simple, finely wrought story, with two people sitting at a table, facing the audience, is a dramatic tour-de-force. Mia Farrow and Brian Dennehy embody the 50-year friendship -- and sometimes, lovers --- that have shaped their lives.
As privileged WASP children (she more privileged than he), they first meet in their private elementary school. Their lives unfold for us through letters written to each other --- mostly at his instigation, since she prefers the telephone!
His letters are informative; hers, brief responses. But we watch their relationship grow, and splinter, and revive, as they each deal with their individual family lives.
Gurney's perceptive writing, the virtuoso acting of two creative performers, and the unseen presence of director Gregory Mosher, all come together to give us a theatrical experience that is meaningful and enjoyable.
Farrow and Dennehy are the first pair of stars who will be playing these roles in limited periods. The succeeding duos will have an exceptionally high standard to measure up to. Mia Farrow's return to Broadway is especially welcome!
THIS IS OUR YOUTH at the Cort Theatre
(Seen September 21, 2014)
Kenneth Lonergan's evocative play is another revival (from off-Broadway) kicking off the new season. In his character studies of three upper-Westside Jewish New York teenagers, he portrays their struggle with drugs, sex, and liquor -- and with each other -- as they grow up in the Reagan era.
Michael Cera, Kieran Culkin, and Tavi Gevinson are all talented and energetic performers. They bring a sense of realism and perception to their
highly animated roles.
Occasionally director Anna D. Shapiro has her cast acting at such high pitch that they are on the verge of caricature --- but fortunately the performers and the playwright maintain a broad but healthy range of emotions.
It is a very enjoyable look at a past that remains contemporary.
(Seen September 21, 2014)
Kenneth Lonergan's evocative play is another revival (from off-Broadway) kicking off the new season. In his character studies of three upper-Westside Jewish New York teenagers, he portrays their struggle with drugs, sex, and liquor -- and with each other -- as they grow up in the Reagan era.
Michael Cera, Kieran Culkin, and Tavi Gevinson are all talented and energetic performers. They bring a sense of realism and perception to their
highly animated roles.
Occasionally director Anna D. Shapiro has her cast acting at such high pitch that they are on the verge of caricature --- but fortunately the performers and the playwright maintain a broad but healthy range of emotions.
It is a very enjoyable look at a past that remains contemporary.
HEREAFTER at the Snapple Theater Center
(Seen September 20, 2014)
This new musical is in dire need of a director and a dramaturg. The extraneous "chorus" are an inter-ruptive presence in an already diffuse musical. And the over-long book is in need of some judicious cutting.
The story involves three disparate women who come together at the home of a psychic in order to make contact with their deceased loved ones. They are each looking for 'closure' in order to go on with their lives.
But the book gives us eight caricatures! For comedy to succeed, it needs to have some basis in reality. But this show only relies on silliness. And the director-choreographer gives us a 'by the numbers' presentation, which is stilted and halting.
Vinnie Favace's music and lyrics are interesting and usually enjoyable, but with his book co-writer Frankie Kenne, they have created a rambling theatre piece. It is only made worse by director Terry Berliner, who constantly interrupts the action, especially by staging so many songs with the cast posturing blatantly. This only further distances the characters from the action.
(Seen September 20, 2014)
This new musical is in dire need of a director and a dramaturg. The extraneous "chorus" are an inter-ruptive presence in an already diffuse musical. And the over-long book is in need of some judicious cutting.
The story involves three disparate women who come together at the home of a psychic in order to make contact with their deceased loved ones. They are each looking for 'closure' in order to go on with their lives.
But the book gives us eight caricatures! For comedy to succeed, it needs to have some basis in reality. But this show only relies on silliness. And the director-choreographer gives us a 'by the numbers' presentation, which is stilted and halting.
Vinnie Favace's music and lyrics are interesting and usually enjoyable, but with his book co-writer Frankie Kenne, they have created a rambling theatre piece. It is only made worse by director Terry Berliner, who constantly interrupts the action, especially by staging so many songs with the cast posturing blatantly. This only further distances the characters from the action.
AND I AND SILENCE at the Signature Theatre
(Seen August 31, 2014)
Rife with symbolism and earnestness, but short on reality and meaning, this two character play (with four actresses) tells the story of a complicated relationship between two female prisoners beginning in 1950. One is Black, one is white, and both are teenagers adjusting to prison life.
Their tentative friendship grows, and playwright Naomi Wallace intermingles time and space to show their initial meeting and their involvement nine years later, after they are out of prison, and roommates. There are shades of Genet's THE MAIDS in their playacting interactions, but no real tension in their non-sexual interplay. There is some light-hearted activity as they practice being "proper" maids, but very little action.
And when they finally initiate a sexual relationship, this strangely leads to a painful suicide pact. Trae Harris/Rachel Nicks portray Jamie, and Emily Skeggs/Samantha Soule is Dee, and all four turn in fine performances in a difficult play.
Director Caitlin McCleod and designer Rachel Hauck have strangely given the actors a huge space to represent the confined cell and the subsequent room they share, which detracts from the intimacy they supposedly share. The time shifts are also jarring as the four actors pass each other as they go through their 'time travel'. And the mundane activities McCleod give her cast are more mystifying than meaningful.
8/20/15
KING LEAR at the Public Theater's Delacorte Theater
(Seen August 3, 2014)
There are no gimmicks or time traveling in Daniel Sullivan's straightforward direction of Shakespeare's tragic tale, John Lithgow, in the title role, gives a virtuoso performance, ably surrounded by a large company of actors.
The ensemble company lets us hear the words as they capture the mood for the undoing of an old king as he deteriorates into senility and madness. The supporting actors happily do not fall into stereotypes nor show-boarding.
Particularly effective is Jay D, Sander's Kent, who effectively underplays what could be a showy role. This is also true for Clarke Peters as Gloucester and C. Iwuji as his son Edgar, as well as Eric Sheffer Stevens as Edmund. Steven Boyer's Foil is played as an unusually young and agile jester.
All in all, an enjoyable visit with a sad Shakespearean tale.
(Seen August 3, 2014)
There are no gimmicks or time traveling in Daniel Sullivan's straightforward direction of Shakespeare's tragic tale, John Lithgow, in the title role, gives a virtuoso performance, ably surrounded by a large company of actors.
The ensemble company lets us hear the words as they capture the mood for the undoing of an old king as he deteriorates into senility and madness. The supporting actors happily do not fall into stereotypes nor show-boarding.
Particularly effective is Jay D, Sander's Kent, who effectively underplays what could be a showy role. This is also true for Clarke Peters as Gloucester and C. Iwuji as his son Edgar, as well as Eric Sheffer Stevens as Edmund. Steven Boyer's Foil is played as an unusually young and agile jester.
All in all, an enjoyable visit with a sad Shakespearean tale.
HOLLER IF YA HEAR ME at the Palace Theatre
(Seen June 15, 2014)
HOLLER,,,, is not the life story of the late Tupac Shakur, but rather a kind of juke-box musical. Book writer Todd Kreidler has fashioned a story using Shakur's lyrics and music to tell the story of life in a contemporary ghetto in a mid-Western industrial city. (But it could have been set 20 years ago in the Bronx --- unfortunately for today's society.)
The show illustrates the struggles and mortality of young Blacks enmeshed in drugs and gang warfare. It is a more devastating and serious reminder of gang activities introduced to us more than five decades ago in WEST SIDE STORY, but revealing more about dead-end life in the ghetto.
This is another example, however, of a very talented cast stuck in a somewhat cliche show. Although featuring some really fine performances, it is really an ensemble show, with adept musical staging by Wayne Cilento, and skilled and very appropriate direction by Kenny Leon.
I was unfamiar with Shakur's work, and this is a worthy showcase for him. Strangely he is only credited for lyrics, with no one credited for the music,
(Seen June 15, 2014)
HOLLER,,,, is not the life story of the late Tupac Shakur, but rather a kind of juke-box musical. Book writer Todd Kreidler has fashioned a story using Shakur's lyrics and music to tell the story of life in a contemporary ghetto in a mid-Western industrial city. (But it could have been set 20 years ago in the Bronx --- unfortunately for today's society.)
The show illustrates the struggles and mortality of young Blacks enmeshed in drugs and gang warfare. It is a more devastating and serious reminder of gang activities introduced to us more than five decades ago in WEST SIDE STORY, but revealing more about dead-end life in the ghetto.
This is another example, however, of a very talented cast stuck in a somewhat cliche show. Although featuring some really fine performances, it is really an ensemble show, with adept musical staging by Wayne Cilento, and skilled and very appropriate direction by Kenny Leon.
I was unfamiar with Shakur's work, and this is a worthy showcase for him. Strangely he is only credited for lyrics, with no one credited for the music,
A FABLE at the Cherry Lane Theatre
(Seen June 8, 2014)
With a pot pourri of Aesop and Brecht, among others, David Van Asselt has concocted a murky fable of the struggles between God and Satan for the soul of Everyman. But this mixed bag of characters, events, and themes, comes across as gimmicky and pretentious.
And we don't really care about the human frailties of his Everyman character, Jonny, played with such reserve and low-key manner by Hubert Point-Du-Jour, as to make him void of personality. And Samantha Soule is a more effective God(dess) than the pretentious and energetic Gordon Joseph Weiss's Satan (Luke). Dawn-Lynn Gardner, Jonny's soul-mate, Claudia, is vivacious and often appealing.
Director Daniel Talbott's staging doesn't add any clarity to the muddled story, while Elizabeth Swado's monotonous "song and lyrics" add little to the tone or meaning of the script.
The cast is generally energetic and willing, but they are all caught in a hapless and hopeless fable!
JUST JIM DALE at Roundabout's Laura Pels Theatre
(Seen May 20, 2014)
Jim Dale is most personable, and an utmost consummate performer. He is comfortable singing, dancing, acting, and telling stories. His new one-person show (plus an enthusiastic pianist --- Mark York), which Dale has written for himself, is not only completely entertaining, but also very revelatory.
Even though I have interviewed Jim Dale a number of times in the past, I learned new aspects of his very creative life. Other than his highly respected Broadway work and classical forays in London, he mostly talked about his music hall training and his work as a "busker". I never knew he was a composer, nor that he wrote the lyrics for GEORGY GIRL, among other hits,
As he tells us about the steps in his career, he is totally at ease recounting the foibles and successes in his professional life. And Richard Maltby Jr.'s seamless direction is happily invisible.
JUST JIM DALE is a triumph as a theatre piece, blending his many talents into a wonderful evening of theatre,
(Seen May 20, 2014)
Jim Dale is most personable, and an utmost consummate performer. He is comfortable singing, dancing, acting, and telling stories. His new one-person show (plus an enthusiastic pianist --- Mark York), which Dale has written for himself, is not only completely entertaining, but also very revelatory.
Even though I have interviewed Jim Dale a number of times in the past, I learned new aspects of his very creative life. Other than his highly respected Broadway work and classical forays in London, he mostly talked about his music hall training and his work as a "busker". I never knew he was a composer, nor that he wrote the lyrics for GEORGY GIRL, among other hits,
As he tells us about the steps in his career, he is totally at ease recounting the foibles and successes in his professional life. And Richard Maltby Jr.'s seamless direction is happily invisible.
JUST JIM DALE is a triumph as a theatre piece, blending his many talents into a wonderful evening of theatre,
THE CITY OF CONVERSATION at the Mitzi Newhouse Theatre
(Seen May 14, 2014)
This chronicle of politics in Washington, D,C, starts with the Carter presidency, moves to Reagan's period, and ends with the Obama inauguration. It is both a family drama and a political journey, seen through the eyes of a liberal Democratic "hostess", expertly played by the illuminating Jan Maxwell,
It is also an ensemble piece, and the very able cast all contribute to its' sense of reality and believability. Playwright Anthony Giardina has written what I feel is the best play of the season, ably directed by Doug Hughes on John Lee Beatty's very appropriate settings.
Politics and family dysfunction are equally explored by Giardina in a very welcome and well-structured play. Officially a post-season show, I look forward to some well=deserved awards next year.
(Seen May 14, 2014)
This chronicle of politics in Washington, D,C, starts with the Carter presidency, moves to Reagan's period, and ends with the Obama inauguration. It is both a family drama and a political journey, seen through the eyes of a liberal Democratic "hostess", expertly played by the illuminating Jan Maxwell,
It is also an ensemble piece, and the very able cast all contribute to its' sense of reality and believability. Playwright Anthony Giardina has written what I feel is the best play of the season, ably directed by Doug Hughes on John Lee Beatty's very appropriate settings.
Politics and family dysfunction are equally explored by Giardina in a very welcome and well-structured play. Officially a post-season show, I look forward to some well=deserved awards next year.
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