DEATH OF A SALESMAN at the Ethel Barrymore Theatre
(Seen March 22, 2012)
Few people will argue against calling this Arthur Miller play an American masterpiece. In the 60-plus years since audiences first encountered Miller's story of a family's failed dreams, crushed by human frailty and circumstance, there have been many re-interpretations of this poignant drama. (For me, none have reached the depth of Lee J. Cobb and Mildred Dunnock.)
The play out-matches so many superlative Greek and Russian tragedies in both its simplicity and intensity. So that by imbuing the characters of Willy and Biff Loman with such devastating and anguished inner life, both Philip Seymour Hoffman and Andrew Garfield take away much of the reality and the pathos that already exists in the writing. They display their pain and their disappointment as though it was a badge of honor. Their intensity never flags, and we lose sight of their humanity.
And director Mike Nichols has allowed them to revel in this depressive state, so that they become symbols rather than real people caught up in a tragic situation.
8/17/12
ONCE at the Bernard Jacobs Theatre
(Seen March 21, 2012)
ONCE is a quiet, low-key musical which should capture the hearts and fancy of theatre-goers of all generations. With its variety of musical styles, it's a simple non-love story of two disparate musicians who meet on a Dublin street, and bond through their music. It is based on the film of the same title, which is based on the true story of the actual characters who played themselves in the movie.
Starring Steve Kazee and Cristin Milioti, there are a dozen other versatile performers who act/sing/dance their respective roles. Director John Tiffany has assembled a true ensemble of players, and has extracted realistic performances from all of them.
The action mainly takes place in an Irish pub, and pre-show, intermission, and post-show, audiences are invited on stage to partake of jam sessions, and to buy drinks at the bar. And all this really works. This is a show that should reap a variety of Tony awards. Don't miss it!
(Seen March 21, 2012)
ONCE is a quiet, low-key musical which should capture the hearts and fancy of theatre-goers of all generations. With its variety of musical styles, it's a simple non-love story of two disparate musicians who meet on a Dublin street, and bond through their music. It is based on the film of the same title, which is based on the true story of the actual characters who played themselves in the movie.
Starring Steve Kazee and Cristin Milioti, there are a dozen other versatile performers who act/sing/dance their respective roles. Director John Tiffany has assembled a true ensemble of players, and has extracted realistic performances from all of them.
The action mainly takes place in an Irish pub, and pre-show, intermission, and post-show, audiences are invited on stage to partake of jam sessions, and to buy drinks at the bar. And all this really works. This is a show that should reap a variety of Tony awards. Don't miss it!
CARRIE at the Lucille Lortel Theatre
(Seen March 10, 2012)
Alienation and bullying in high school is certainly a hot topic in today's headlines, so why not take another look at the classic Broadway musical flop of 1988, based on Stephen King's best-selling novel?
Well, a revised book and a smaller scale presentation only make its shortcomings more apparent --- this campy, preposterous show still does not hold up in its intimate new environment.
Certainly it's not the fault of the singers: Marin Mazzie's and Molly Rawson's impressive voices ring clear and loud, but it's hard to really care about their plight or plot. And under Stafford Arima's feeble direction, the zombie-like cast of teenagers and teachers fail to bring the tedious proceedings to any satisfactory excitement or pleasure.
(Seen March 10, 2012)
Alienation and bullying in high school is certainly a hot topic in today's headlines, so why not take another look at the classic Broadway musical flop of 1988, based on Stephen King's best-selling novel?
Well, a revised book and a smaller scale presentation only make its shortcomings more apparent --- this campy, preposterous show still does not hold up in its intimate new environment.
Certainly it's not the fault of the singers: Marin Mazzie's and Molly Rawson's impressive voices ring clear and loud, but it's hard to really care about their plight or plot. And under Stafford Arima's feeble direction, the zombie-like cast of teenagers and teachers fail to bring the tedious proceedings to any satisfactory excitement or pleasure.
GODSPELL at Circle In The Square
(Seen February 5, 2012)
Forty years after it first opened off-Broadway, GODSPELL is revived on Broadway with some awkward touches of contemporary times insinuated into the story line. Unfortunately, that is not the only thing that doesn't work.
The carnival-type setting with acrobatics, and solo singing and dancing 'turns', somehow works against this story of Jesus and his followers. And the attempts at clever dialogue with contemporary references, falls completely flat.
Another added aspect has each performer trying to outdo one another, and you get the feeling that a bunch of 'wanna-bes' are showing off, demonstrating how talented they think they are! There is a total lack of flow and cohesion, and we have spurts of familiar songs buried in a mish-mash of hyper-activity.
(Seen February 5, 2012)
Forty years after it first opened off-Broadway, GODSPELL is revived on Broadway with some awkward touches of contemporary times insinuated into the story line. Unfortunately, that is not the only thing that doesn't work.
The carnival-type setting with acrobatics, and solo singing and dancing 'turns', somehow works against this story of Jesus and his followers. And the attempts at clever dialogue with contemporary references, falls completely flat.
Another added aspect has each performer trying to outdo one another, and you get the feeling that a bunch of 'wanna-bes' are showing off, demonstrating how talented they think they are! There is a total lack of flow and cohesion, and we have spurts of familiar songs buried in a mish-mash of hyper-activity.
PORGY AND BESS at the Richard Rodgers Theatre
(Seen January 25, 2012)
With a revised book by Suzan-Lori Parks and a new insight by director Diane Paulus, there is a feminist slant that focuses on Bess, as befits its star, Audra McDonald. And this seems to be a darker, more brutal view of life in the Catfish Row we might have previously known.
Even the physical set-up of Catfish Row seems industrial looking, and most of the 'livin' here is not easy. The good guys and the bad guys are more clearly delineated, and even the music sounds harsher.
But there is no getting away from the fact that the Gershwin score is the most important aspect of this show, and that music shines through all the tampering and the slanting.
Audra McDonald is an impressively strong-but-vulnerable Bess. Norm Lewis is the dreamy-eyed cripple who falls in love with a woman not meant for him; and David Alan Grier is a personable, evil, manipulative Sportin' Life. Philip Boykin is a physically frightening Crown, with an equally imposing voice. The large ensemble is full of strong, impressive soloists, who also come together as a melodious chorus.
If you've never seen a production of PORGY & BESS, try to see this one. But this is hardly a definitive version.
(Seen January 25, 2012)
With a revised book by Suzan-Lori Parks and a new insight by director Diane Paulus, there is a feminist slant that focuses on Bess, as befits its star, Audra McDonald. And this seems to be a darker, more brutal view of life in the Catfish Row we might have previously known.
Even the physical set-up of Catfish Row seems industrial looking, and most of the 'livin' here is not easy. The good guys and the bad guys are more clearly delineated, and even the music sounds harsher.
But there is no getting away from the fact that the Gershwin score is the most important aspect of this show, and that music shines through all the tampering and the slanting.
Audra McDonald is an impressively strong-but-vulnerable Bess. Norm Lewis is the dreamy-eyed cripple who falls in love with a woman not meant for him; and David Alan Grier is a personable, evil, manipulative Sportin' Life. Philip Boykin is a physically frightening Crown, with an equally imposing voice. The large ensemble is full of strong, impressive soloists, who also come together as a melodious chorus.
If you've never seen a production of PORGY & BESS, try to see this one. But this is hardly a definitive version.
BONNIE & CLYDE at the Schoenfeld Theatre
(Seen December, 2011)
Frank Wildhorn's latest musical is a look at the real life desperados who captured America's lurid interests during our great depression years. This show is NOT based on the classic movie, and all of the blood and guts and lovemaking add up to an uninteresting look into the lives and loves of two troubled and unhappy young Americans.
Laura Osnes and Jeremy Jordan, in the title roles, do their best, but cannot bring the desired passion to the mostly lackluster dialog, simplistic lyrics, and wavering story line.
Jeff Calhoun's direction and choreography keep things moving apace, but it seems as if there is no place to go that will make the audience care about their misadventures. It is an unfulfilled tale about unfulfilled dreams.
(Seen December, 2011)
Frank Wildhorn's latest musical is a look at the real life desperados who captured America's lurid interests during our great depression years. This show is NOT based on the classic movie, and all of the blood and guts and lovemaking add up to an uninteresting look into the lives and loves of two troubled and unhappy young Americans.
Laura Osnes and Jeremy Jordan, in the title roles, do their best, but cannot bring the desired passion to the mostly lackluster dialog, simplistic lyrics, and wavering story line.
Jeff Calhoun's direction and choreography keep things moving apace, but it seems as if there is no place to go that will make the audience care about their misadventures. It is an unfulfilled tale about unfulfilled dreams.
BLOOD AND GIFTS at the Mitzi Newhouse Theratre
(Seen December 2011)
J. T. Roger's new play about the CIA and America's covert operations in Pakistan and Afghanistan in the 1980s is an intense spy drama involving warlords, corrupt military regimes, Russia, Britain -- all the makings of an exciting feature film thriller.
Director Bartlett Sher has seamlessly fit all the various theatrical settings into a multi-functional, confined playing area. Small set-pieces and props, and lighting changes, represent myriad locations for the intriguing action.
It is the excellent writing and low-key acting that help the realization of this tour-de-force drama. Jeremy Davidson, as the CIA operative, leads the versatile and most accomplished cast through a variety of personal and political turns that add up to an impressive theatrical experience.
(Seen December 2011)
J. T. Roger's new play about the CIA and America's covert operations in Pakistan and Afghanistan in the 1980s is an intense spy drama involving warlords, corrupt military regimes, Russia, Britain -- all the makings of an exciting feature film thriller.
Director Bartlett Sher has seamlessly fit all the various theatrical settings into a multi-functional, confined playing area. Small set-pieces and props, and lighting changes, represent myriad locations for the intriguing action.
It is the excellent writing and low-key acting that help the realization of this tour-de-force drama. Jeremy Davidson, as the CIA operative, leads the versatile and most accomplished cast through a variety of personal and political turns that add up to an impressive theatrical experience.
CLOSE UP SPACE at MTC's City Center Stage 1
(Seen December 2011)
Director Leigh Silverman who this season did such excellent work with CH'ING-LISH, is unable to do anything to save this muddled, confusing, and silly new play by Molly Smith Metzler. And the presence of David Hyde Pierce as an unhappy, obsessive book editor, with Rosie Perez as an unlikely demanding, prima donna author, doesn't add any substance or reality to the proceedings.
"Close-up space" is a proofreader's and editor's symbol, and the title turns out to be prophetic in a way, presaging what might have happened if a dramaturg had edited and pruned and compressed this intermission-less and meandering play down into a short skit.
The entire cast plays everything so broadly, that they merely add to the ridiculousness and the unbelievability of the situations and the characters. It seems like unintentional 'theatre of the absurd'.
(Seen December 2011)
Director Leigh Silverman who this season did such excellent work with CH'ING-LISH, is unable to do anything to save this muddled, confusing, and silly new play by Molly Smith Metzler. And the presence of David Hyde Pierce as an unhappy, obsessive book editor, with Rosie Perez as an unlikely demanding, prima donna author, doesn't add any substance or reality to the proceedings.
"Close-up space" is a proofreader's and editor's symbol, and the title turns out to be prophetic in a way, presaging what might have happened if a dramaturg had edited and pruned and compressed this intermission-less and meandering play down into a short skit.
The entire cast plays everything so broadly, that they merely add to the ridiculousness and the unbelievability of the situations and the characters. It seems like unintentional 'theatre of the absurd'.
CH'ING-LISH at the Longacre Theatre
(Seen November 2011)
David Henry Hwang's new comedy is rooted in such realistic and truly funny wordplay that it is certainly the most enjoyable play of this season. Although it has a more-or-less one-joke premise --- the inability of a meaningful translation, specifically, Chinese/English/Chinese, it sets up both a cultural and business back-story, and then carries the fun and personal mishaps to a logical and entertaining conclusion.
It has a small ensemble cast, led by Jennifer Lim, Gary Wilmes, and Stephen Pucci, who are top-notch comedic performers, seamlessly bringing out both the humor and the reality of the many personal entanglements.
Director Leigh Silverman doesn't miss a beat, and designer David Korins' simple multi-functional unit set serves the play well. Hwang seems to be having fun with his audience, and the audience expresses its reciprocal feelings.
(Years ago, a rabbi-friend of mine said that all translation is interpretation. Hwang's CH'ING-LISH appears to bear that out.)
(Seen November 2011)
David Henry Hwang's new comedy is rooted in such realistic and truly funny wordplay that it is certainly the most enjoyable play of this season. Although it has a more-or-less one-joke premise --- the inability of a meaningful translation, specifically, Chinese/English/Chinese, it sets up both a cultural and business back-story, and then carries the fun and personal mishaps to a logical and entertaining conclusion.
It has a small ensemble cast, led by Jennifer Lim, Gary Wilmes, and Stephen Pucci, who are top-notch comedic performers, seamlessly bringing out both the humor and the reality of the many personal entanglements.
Director Leigh Silverman doesn't miss a beat, and designer David Korins' simple multi-functional unit set serves the play well. Hwang seems to be having fun with his audience, and the audience expresses its reciprocal feelings.
(Years ago, a rabbi-friend of mine said that all translation is interpretation. Hwang's CH'ING-LISH appears to bear that out.)
THE AGONY AND THE ECSTASY OF STEVE JOBS at the Public Theatre
(Seen October 2011)
Amidst all the paeans for the late Steve Jobs, Michael Daisey delves into the sordid business and labor practices of Apple Computers, in its triumphal rise as the leader of the technology apparatus industry.
As a piece of political/social theatre it is an informative and revelatory presentation, based on Daisey's probing investigations into labor conditions at the Chinese factory which creates most of Apple's ground-breaking devices. It is story-telling in the old-fashioned way, full of personal anecdotes.
Daisey paints vivid and lurid pictures of the oppressed workers, contrasting his casual, sweaty, and gritty, but intense, style. He works from sheets of notes in his two-hour diatribe. It is a call for action, but theatre qaudiences, no matter how sympathetic to the cause, are unlikely to give up their iphones and ipads.
(Seen October 2011)
Amidst all the paeans for the late Steve Jobs, Michael Daisey delves into the sordid business and labor practices of Apple Computers, in its triumphal rise as the leader of the technology apparatus industry.
As a piece of political/social theatre it is an informative and revelatory presentation, based on Daisey's probing investigations into labor conditions at the Chinese factory which creates most of Apple's ground-breaking devices. It is story-telling in the old-fashioned way, full of personal anecdotes.
Daisey paints vivid and lurid pictures of the oppressed workers, contrasting his casual, sweaty, and gritty, but intense, style. He works from sheets of notes in his two-hour diatribe. It is a call for action, but theatre qaudiences, no matter how sympathetic to the cause, are unlikely to give up their iphones and ipads.
FOLLIES at the Marquis Theatre
(Seen Sept. 2011)
This masterful musical revival comes to Broadway virtually intact from its Kennedy Center incarnation. With a background story of former Follies showgirls coming to a reunion before their fabled theatre is to be razed, we look into the failed marriages of two of its stars.
This production has a plethora of famous performers, including Bernadette Peters, Jan Maxwell,, Elaine Paige, and Ron Raines, among others -- but this is a break-out performance for the otherwise stalwart supporting player, Danny Burstein, who bursts into the spotlight.
Director Eric Schaeffer has brought a somewhat darker approach to Sondheim and Goldman's already moody look at their various lives, but this doesn't detract from nor lessen any of its vitality. It's a musical masterpiece that still excels in every aspect.
(Seen Sept. 2011)
This masterful musical revival comes to Broadway virtually intact from its Kennedy Center incarnation. With a background story of former Follies showgirls coming to a reunion before their fabled theatre is to be razed, we look into the failed marriages of two of its stars.
This production has a plethora of famous performers, including Bernadette Peters, Jan Maxwell,, Elaine Paige, and Ron Raines, among others -- but this is a break-out performance for the otherwise stalwart supporting player, Danny Burstein, who bursts into the spotlight.
Director Eric Schaeffer has brought a somewhat darker approach to Sondheim and Goldman's already moody look at their various lives, but this doesn't detract from nor lessen any of its vitality. It's a musical masterpiece that still excels in every aspect.
PLAY IT COOL at the Acorn Theatre
(Seen Sept./2011)
This little musical with a hidden agenda seems to strike out in all its attempts, except as a vehicle for the talents of singer/actress Sally Mayes.
Set in the seamy side of 1950s Hollywood, it's about a surreptitious gay jazz club, a closeted Hollywood producer, a young Southern boy just off the bus who's come to make his mark as a singer, a good-hearted but dirty cop with a secret life -- all the expected elements that frequent 50s film noir detective film stories.
But somehow, nothing ever comes together, and it all adds up to a campy version of a campy show.
(Seen Sept./2011)
This little musical with a hidden agenda seems to strike out in all its attempts, except as a vehicle for the talents of singer/actress Sally Mayes.
Set in the seamy side of 1950s Hollywood, it's about a surreptitious gay jazz club, a closeted Hollywood producer, a young Southern boy just off the bus who's come to make his mark as a singer, a good-hearted but dirty cop with a secret life -- all the expected elements that frequent 50s film noir detective film stories.
But somehow, nothing ever comes together, and it all adds up to a campy version of a campy show.
8/22/11
I MARRIED WYATT EARP at 59E59 Theatres
(Seen 5/25/11)
Tediously woven around an interesting story based on the real life of Wyatt Earp's widow, this intimate musical takes us back and forth in time, in flashbacks, from 1944 to 1879, and forward from there. It involves the various women in Wyatt Earp's extended family. Mostly it chronicles the journey of Josephine Marcus, a Boston Jewish debutant, and her adventures and travails as she goes traveling with a women's musical troupe to the Wild West.
She meets Wyatt Earp in Tombstone, Arizona, and they fall in love. But he has a complicated household, and this musical tries to tell the saga through the eyes and hearts of the varied women connected to him, including Josephine's sad story.
With a book by Thomas Edward West and Sheilah Rae, lyrics by Ms. Rae, and music by Michele Brourman, this all-female cast is uniformly good, the music pleasant, and the lyrics informative. But the show never takes flight, and Clara Reichel's direction is little more than traffic control in a tiny playing area.
Tediously woven around an interesting story based on the real life of Wyatt Earp's widow, this intimate musical takes us back and forth in time, in flashbacks, from 1944 to 1879, and forward from there. It involves the various women in Wyatt Earp's extended family. Mostly it chronicles the journey of Josephine Marcus, a Boston Jewish debutant, and her adventures and travails as she goes traveling with a women's musical troupe to the Wild West.
She meets Wyatt Earp in Tombstone, Arizona, and they fall in love. But he has a complicated household, and this musical tries to tell the saga through the eyes and hearts of the varied women connected to him, including Josephine's sad story.
With a book by Thomas Edward West and Sheilah Rae, lyrics by Ms. Rae, and music by Michele Brourman, this all-female cast is uniformly good, the music pleasant, and the lyrics informative. But the show never takes flight, and Clara Reichel's direction is little more than traffic control in a tiny playing area.
8/21/11
SLEEP NO MORE at the McKittrick Hotel
(Seen 5/18/11)
Environmental installations are hardly new to the New York theatre scene, but this venture's scope and seeming vastness adds new dimensions. And therefore, for those of us familiar with this type of theatre event, the disappointment is greater when it fails to live up to expectations.
The PUNCHDRUNK Theatre Company has transformed three adjoining warehouses in Chelsea into the "McKittrick Hotel", a ramshackle conversion into seemingly dozens of rooms and endless hallways and stairs. Each room has been variously decorated with antiques and detritus from bygone eras, which along with many large open spaces, serves as the background for PUNCHDRUNK's unrecognizable version of MACBETH.
This is more an art installation than a theatre event, so the play is not the thing -- it's merely a sham for a lot of shameless performance 'artists' acting silly and seemingly unrepressed, although it is a choreographed work, not an impromptu one.
Beholders -- or ticket holders, the audience members -- are shuffled from space to space and room to room to follow the lack of action. Or you can choose to ramble along at your own pace and paths. We are made to wear white plastic Venetian face masks, which seeks to make us into androgynous players in this communal enterprise -- but also makes it difficult to breathe in the mostly airless spaces.
Many of the rooms are interesting, if tacky, and some quiet downtime is available there -- and you can momentarily remove your mask if no monitors are around to prod you into wearing it.
For newcomers to this media, there can be some discoveries made -- and my companion enjoyed some of it as art installations. But for old theatre veterans like myself, it made me yearn for TAMARA, ensconced in an East side armory years ago, which had a story line you could follow if you chose, and included a champagne banquet for all guests.
Environmental installations are hardly new to the New York theatre scene, but this venture's scope and seeming vastness adds new dimensions. And therefore, for those of us familiar with this type of theatre event, the disappointment is greater when it fails to live up to expectations.
The PUNCHDRUNK Theatre Company has transformed three adjoining warehouses in Chelsea into the "McKittrick Hotel", a ramshackle conversion into seemingly dozens of rooms and endless hallways and stairs. Each room has been variously decorated with antiques and detritus from bygone eras, which along with many large open spaces, serves as the background for PUNCHDRUNK's unrecognizable version of MACBETH.
This is more an art installation than a theatre event, so the play is not the thing -- it's merely a sham for a lot of shameless performance 'artists' acting silly and seemingly unrepressed, although it is a choreographed work, not an impromptu one.
Beholders -- or ticket holders, the audience members -- are shuffled from space to space and room to room to follow the lack of action. Or you can choose to ramble along at your own pace and paths. We are made to wear white plastic Venetian face masks, which seeks to make us into androgynous players in this communal enterprise -- but also makes it difficult to breathe in the mostly airless spaces.
Many of the rooms are interesting, if tacky, and some quiet downtime is available there -- and you can momentarily remove your mask if no monitors are around to prod you into wearing it.
For newcomers to this media, there can be some discoveries made -- and my companion enjoyed some of it as art installations. But for old theatre veterans like myself, it made me yearn for TAMARA, ensconced in an East side armory years ago, which had a story line you could follow if you chose, and included a champagne banquet for all guests.
BABY IT'S YOU! at the Broadhurst Theatre
(Seen 5/13/11)
Yet another juke-box musical comes to Broadway, albeit not based on a hit film. BABY IT'S YOU! tells the behind-the-scenes story of how a group of young, black, female pop singers became the world-famous Shirelles. And it all happened because a strong-willed Jewish housewife from New Jersey -- Florence Greenberg -- had a vision and a belief in their talent.
It has all the makings of a powerful musical -- including her scandalous affair with a black recording artist, which broke up her marriage. But in the inept book by Floyd Mutrux and Colin Escott, it becomes a boring and pedestrian tale of highs and lows, amateurishly constructed, and uninventively directed by Mutrux and Sheldon Epps.
If you are an avid fan of the Shirelles, or the pop music of the period, you might find it easier sitting through this sad tale.
Beth Leavel is burdened but brave and gung-ho as Mrs. Greenberg, and Kelli Barrett is excellent as her neglected daughter, who finally reveals a fine voice and attractive stage presence. The cast seems quite able, but the material unfortunately doesn't allow them to demonstrate more than superficial abilities.
Yet another juke-box musical comes to Broadway, albeit not based on a hit film. BABY IT'S YOU! tells the behind-the-scenes story of how a group of young, black, female pop singers became the world-famous Shirelles. And it all happened because a strong-willed Jewish housewife from New Jersey -- Florence Greenberg -- had a vision and a belief in their talent.
It has all the makings of a powerful musical -- including her scandalous affair with a black recording artist, which broke up her marriage. But in the inept book by Floyd Mutrux and Colin Escott, it becomes a boring and pedestrian tale of highs and lows, amateurishly constructed, and uninventively directed by Mutrux and Sheldon Epps.
If you are an avid fan of the Shirelles, or the pop music of the period, you might find it easier sitting through this sad tale.
Beth Leavel is burdened but brave and gung-ho as Mrs. Greenberg, and Kelli Barrett is excellent as her neglected daughter, who finally reveals a fine voice and attractive stage presence. The cast seems quite able, but the material unfortunately doesn't allow them to demonstrate more than superficial abilities.
BORN YESTERDAY at the Cort Theatre
(Seen 5/10/11)
Although peopled with a good cast, this revival of Garson Kanin's once-sharp and opinionated picture of dishonesty in our nation's capital, seems picaresque rather than pointed.
Jim Belushi, Nina Arianda, and Robert Sean Leonard go through the motions and machinations of the political and big business intrigue that seems to be the normal activity in government. And director Doug Hughes has failed to flesh out more than surface portrayals from his talented cast, making the play seem like a tv situation comedy.
Set in John Lee Beatty's opulent hotel suite, the cast moves like cardboard figures going through the motions -- rather than the emotions -- of important things happening that will change their lives, and maybe the lives of Washington's political establishment. It comes across as superficial comedy, sometimes entertaining, but never meaningful. Another missed opportunity.
Although peopled with a good cast, this revival of Garson Kanin's once-sharp and opinionated picture of dishonesty in our nation's capital, seems picaresque rather than pointed.
Jim Belushi, Nina Arianda, and Robert Sean Leonard go through the motions and machinations of the political and big business intrigue that seems to be the normal activity in government. And director Doug Hughes has failed to flesh out more than surface portrayals from his talented cast, making the play seem like a tv situation comedy.
Set in John Lee Beatty's opulent hotel suite, the cast moves like cardboard figures going through the motions -- rather than the emotions -- of important things happening that will change their lives, and maybe the lives of Washington's political establishment. It comes across as superficial comedy, sometimes entertaining, but never meaningful. Another missed opportunity.
THE NORMAL HEART at the Golden Theatre
(Seen 5/7/11)
The 'best revival' title this season unquestionably belongs to THE NORMAL HEART, Larry Kramer's heart-wrenching tale about life in the gay community when AIDS first started to decimate its population.
When the play first opened at the Public Theater in 1985, it was a lone voice calling out to its own community, to the government, to the newspapers, and to the medical establishment, demanding help in recognizing that this was a plague. It pleaded for action in fighting for the lives of those battling this unknown disease.
Although times have changed and progress has been made in the past 25 years, this very personal story of a lone activist crying out in the wilderness of politics and society, still remains a poignant and heart-felt story of a small group of individuals striving to survive the epidemic, and still keep love and meaning in their personal relationships..
I have known and followed and admired the work of Joe Mantello as a director since his early off-Broadway days when he was less-known. So it is a happy revelation to see that he is still an accomplished actor who breathes such life and passion into his role. He is flawless in his re-creation of Ned Weeks, the activist who is the catalyst for this play.
The entire cast -- Ellen Barkin, Patrick Breen, Mark Harelik, John Benjamin Hickey, Luke MacFarlane, Lee Pace, Jim Parsons, Richard Topol, and Wayne Alan Wilcox all seamlessly cohere with Mantello to create an ensemble cast that fully serves the needs of the play. Joel Grey and George C. Wolfe guide this remarkable group of actors through its rocky path of progess.
The 'best revival' title this season unquestionably belongs to THE NORMAL HEART, Larry Kramer's heart-wrenching tale about life in the gay community when AIDS first started to decimate its population.
When the play first opened at the Public Theater in 1985, it was a lone voice calling out to its own community, to the government, to the newspapers, and to the medical establishment, demanding help in recognizing that this was a plague. It pleaded for action in fighting for the lives of those battling this unknown disease.
Although times have changed and progress has been made in the past 25 years, this very personal story of a lone activist crying out in the wilderness of politics and society, still remains a poignant and heart-felt story of a small group of individuals striving to survive the epidemic, and still keep love and meaning in their personal relationships..
I have known and followed and admired the work of Joe Mantello as a director since his early off-Broadway days when he was less-known. So it is a happy revelation to see that he is still an accomplished actor who breathes such life and passion into his role. He is flawless in his re-creation of Ned Weeks, the activist who is the catalyst for this play.
The entire cast -- Ellen Barkin, Patrick Breen, Mark Harelik, John Benjamin Hickey, Luke MacFarlane, Lee Pace, Jim Parsons, Richard Topol, and Wayne Alan Wilcox all seamlessly cohere with Mantello to create an ensemble cast that fully serves the needs of the play. Joel Grey and George C. Wolfe guide this remarkable group of actors through its rocky path of progess.
JERUSALEM at the Music Box
(Seen 4/26/11)
Jez Butterworth's JERUSALEM is a manic play that manages to submerge its many merits through over-kill, both in words and actions. Spurning any idea that less is more, this is a 'no-holds-barred' romp into a sub-culture in contemporary England. It is full of sub-plots and back-stories, but they seldom play out.
With 'Jerusalem' as a metaphor for Eden or Utopia, we follow the exploits of an anti-establishment rebel living in a motor home on the edge of a small English town. He attracts a small coterie of young misfits and thrill-seekers who commune with him through his supply of drugs and liquor.
I must admit to a bias against over-the-top performances which I think would be more effective through judicious underplaying. I am evidently in the minority who thinks Mark Rylance over-acts and over-plays this already larger-than-life character.
There is a meaningful story lurking behind all the histrionics which fails to surface and materialize because of too much bluster and false paths.
Jez Butterworth's JERUSALEM is a manic play that manages to submerge its many merits through over-kill, both in words and actions. Spurning any idea that less is more, this is a 'no-holds-barred' romp into a sub-culture in contemporary England. It is full of sub-plots and back-stories, but they seldom play out.
With 'Jerusalem' as a metaphor for Eden or Utopia, we follow the exploits of an anti-establishment rebel living in a motor home on the edge of a small English town. He attracts a small coterie of young misfits and thrill-seekers who commune with him through his supply of drugs and liquor.
I must admit to a bias against over-the-top performances which I think would be more effective through judicious underplaying. I am evidently in the minority who thinks Mark Rylance over-acts and over-plays this already larger-than-life character.
There is a meaningful story lurking behind all the histrionics which fails to surface and materialize because of too much bluster and false paths.
HIGH at the Booth Theatre
(Seen 4/22/11)
When a supposedly realistic play O-Ds on pseudo-realism, you know that your only 'high' will have to come after you leave the theatre. Matthew Lombardo has written a play about a nun who counsels addicts in a church re-hab facility, and her interaction with a very troubled, very confrontational young addict, who is surely destined for a short life.
She is herself a reformed addict, still fighting her own daily battles. In the persona of Kathleen Turner, she is a formidable and sometimes terrifying 'mother figure'.
Everything in this play is so one-dimensional and unbelievable, despite the sketchy back-story of the three principals -- the nun, the priest, and the druggie. Although Lombardo tries to weave a tale of redemption for and by this trio, he never reaches a level of truth in their words or actions.
And Evan Jonigkeit so overplays the addict's physical and mental state, it becomes a monotonous melodrama of surface tension. Director Rob Ruggiero seems to only aid and abet this hyperactivity, further lessening any impact that might lurk below the surface in this play.
When a supposedly realistic play O-Ds on pseudo-realism, you know that your only 'high' will have to come after you leave the theatre. Matthew Lombardo has written a play about a nun who counsels addicts in a church re-hab facility, and her interaction with a very troubled, very confrontational young addict, who is surely destined for a short life.
She is herself a reformed addict, still fighting her own daily battles. In the persona of Kathleen Turner, she is a formidable and sometimes terrifying 'mother figure'.
Everything in this play is so one-dimensional and unbelievable, despite the sketchy back-story of the three principals -- the nun, the priest, and the druggie. Although Lombardo tries to weave a tale of redemption for and by this trio, he never reaches a level of truth in their words or actions.
And Evan Jonigkeit so overplays the addict's physical and mental state, it becomes a monotonous melodrama of surface tension. Director Rob Ruggiero seems to only aid and abet this hyperactivity, further lessening any impact that might lurk below the surface in this play.
WAR HORSE at the Vivian Beaumont Theatre
(Seen 4/20/11)
Without doubt, the best new play of the season is WAR HORSE. It first captures its audience visually, with its stark and imposing panorama. Then it encaptures their emotions, resulting in a total theatrical experience for theatre-goers of all ages.
It's basically a children's fairy tale. A young boy in a dysfunctional British farm family is given a young colt to train for farm work in the days before World War I, and establishes a unique mutual bond with the animal. When the Army comes looking for horses to buy for the battles in Europe, his drunken father sells the horse. It is heart-rending, without being maudlin, as we follow the boy's army enlistment so he can go search the battlefields for his lost horse.
The amazing accomplishment of this very cohesive ensemble piece is that the horse -- all the horses -- are life-size puppets, each maneuvered by an on-stage team of puppeteers. And yet we accept this device as though we are seeing a living, snorting horse, reacting to all the wonders and horrors of life and of war. The sense of realism is magically not lost, despite the very apparent use of puppets.
First, we must credit Nick Stafford for his simple and sympathetic adaptation of Michael Morpurgo's novel; then, Marianne Elliott and Tom Morris, for their directorial imagination and acumen in creating a vast vista, while still keeping the action on a very personal level.
And importantly, the Handspring Puppet Company, whose Adrian Kohler and Basil Jones have designed, created, and directed those shabby puppets into living, full-size horses, with movements and emotiuons that connect with the actors and the audience.
Truly a most worthy theatrical endeavor, carried out by an ensemble cast and a large team of theatre artists.
Without doubt, the best new play of the season is WAR HORSE. It first captures its audience visually, with its stark and imposing panorama. Then it encaptures their emotions, resulting in a total theatrical experience for theatre-goers of all ages.
It's basically a children's fairy tale. A young boy in a dysfunctional British farm family is given a young colt to train for farm work in the days before World War I, and establishes a unique mutual bond with the animal. When the Army comes looking for horses to buy for the battles in Europe, his drunken father sells the horse. It is heart-rending, without being maudlin, as we follow the boy's army enlistment so he can go search the battlefields for his lost horse.
The amazing accomplishment of this very cohesive ensemble piece is that the horse -- all the horses -- are life-size puppets, each maneuvered by an on-stage team of puppeteers. And yet we accept this device as though we are seeing a living, snorting horse, reacting to all the wonders and horrors of life and of war. The sense of realism is magically not lost, despite the very apparent use of puppets.
First, we must credit Nick Stafford for his simple and sympathetic adaptation of Michael Morpurgo's novel; then, Marianne Elliott and Tom Morris, for their directorial imagination and acumen in creating a vast vista, while still keeping the action on a very personal level.
And importantly, the Handspring Puppet Company, whose Adrian Kohler and Basil Jones have designed, created, and directed those shabby puppets into living, full-size horses, with movements and emotiuons that connect with the actors and the audience.
Truly a most worthy theatrical endeavor, carried out by an ensemble cast and a large team of theatre artists.
ANYTHING GOES at Roundabout's Stephen Sondheim Theatre
(Seen 4/15/11)
ANYTHING GOES has a special place in my theatrical heart -- it was the first musical I produced in my college days at CCNY. Cole Porter's music and lyrics are still clever, buoyant, sassy, and tuneful. The book is still as creaky and unbelievable as ever, despite tweaking by Timothy Crouse and John Weidman. So it seems that director/choreographer Kathleen Marshall has striven to make it fast and furious, to make up for it's lack of a good book.
Sutton Foster, as an unlikely Reno Sweeney -- being too young and too desirable for the character -- nevertheless quickly establishes herself as the reason to see the show. She is the triple-threat singer-dancer-actress that any director would want in a fast-paced musical. And once she captures the role and makes it her own, the book seems to fade away, and the journey becomes her private entertainment vehicle.
The large featured cast is more than able, and although Marshall is lax in bringing those characters to life, they serve the purpose of supporting Foster in her virtuoso role. Along with Cole Porter's excellent score and vibrant lyrics, ANYTHING GOES becomes "You're The Top"!
ANYTHING GOES has a special place in my theatrical heart -- it was the first musical I produced in my college days at CCNY. Cole Porter's music and lyrics are still clever, buoyant, sassy, and tuneful. The book is still as creaky and unbelievable as ever, despite tweaking by Timothy Crouse and John Weidman. So it seems that director/choreographer Kathleen Marshall has striven to make it fast and furious, to make up for it's lack of a good book.
Sutton Foster, as an unlikely Reno Sweeney -- being too young and too desirable for the character -- nevertheless quickly establishes herself as the reason to see the show. She is the triple-threat singer-dancer-actress that any director would want in a fast-paced musical. And once she captures the role and makes it her own, the book seems to fade away, and the journey becomes her private entertainment vehicle.
The large featured cast is more than able, and although Marshall is lax in bringing those characters to life, they serve the purpose of supporting Foster in her virtuoso role. Along with Cole Porter's excellent score and vibrant lyrics, ANYTHING GOES becomes "You're The Top"!
CATCH ME IF YOU CAN at the Neil Simon Theatre
(Seen 4/13/11)
Another hit film has traveled the prescribed route to become a big Broadway musical. It arrived with a creative team including Terrence McNally (book), Marc Shaiman (music/lyrics), and director Jack O'Brien -- a combined pedigree any producer would love. But as we all know, pedigrees are not enough on Broadway, and this team has come up with a pedestrian, if workman-like, result.
The show is a combination of straight-forward story-telling by the protagonists, and quirky segues told in classic musical comedy style. All the elements seem to be there, but they never come together and capture the audience, which is always ahead of the story.
Ensconced in the framework of old variety musical tv shows, the story unfolds from various viewpoints. In the original film, you could easily identify with the various characters. Here, they are cardboard cut-outs, moving about the stage, often animated, but never involving. Two 'veteran' performers seems most at ease and most fulfilled -- Norbert Leo Butz and Tom Wopat.
The music is lively, if forgettable. Jerry Mitchell's choreography is fast-moving and scene appropriate, as are the long-limbed, scantily-clad, attractive chorus girls. But the show never catches the fire that we expect.
Another hit film has traveled the prescribed route to become a big Broadway musical. It arrived with a creative team including Terrence McNally (book), Marc Shaiman (music/lyrics), and director Jack O'Brien -- a combined pedigree any producer would love. But as we all know, pedigrees are not enough on Broadway, and this team has come up with a pedestrian, if workman-like, result.
The show is a combination of straight-forward story-telling by the protagonists, and quirky segues told in classic musical comedy style. All the elements seem to be there, but they never come together and capture the audience, which is always ahead of the story.
Ensconced in the framework of old variety musical tv shows, the story unfolds from various viewpoints. In the original film, you could easily identify with the various characters. Here, they are cardboard cut-outs, moving about the stage, often animated, but never involving. Two 'veteran' performers seems most at ease and most fulfilled -- Norbert Leo Butz and Tom Wopat.
The music is lively, if forgettable. Jerry Mitchell's choreography is fast-moving and scene appropriate, as are the long-limbed, scantily-clad, attractive chorus girls. But the show never catches the fire that we expect.
THE BOOK OF MORMON at the Eugene O'Neill Theatre
(Seen 3/29/11)
Scurrilous and foul-mouthed are apt descriptions of this silly and often-inane depiction of THE BOOK OF MORMON. But underneath all of the shenanigans is an old-fashioned musical comedy about how faith -- in anything -- can overcome adversity, hunger, devastation -- and even savage warlords.
"South Park" creators Trey Parker and Matt Stone have enlisted "Avenue Q" composer Robert Lopez to collaborate on this fairy tale about two eager young Mormon missionaries who reluctantly go off to Uganda for their first assignment. Their mission is to baptize and save the souls of some down-trodden jungle inhabitants.
In their journey, they find out life here is not a Disney-like Lion King environment, but the trip turns out to be both a revelation and a revitalization about the power of faith.
One of them, played by Andrew Rannells, is an over-achiever; the other, played by Josh Gad, is a bumbling oaf. In the course of two hours, their personalities and roles are totally changed, all due to the satiric approach to religion -- particularly, Mormonism -- which they adapt to their own needs, and the needs of the villagers.
The direction by Casey Nicholaw and Trey Parker is right on target for this panoramic show, as they develop the pungent story line which allows all the characters to achieve their happy endings. It doesn't always make sense, but it is continuously funny, and often meaningful.
Scurrilous and foul-mouthed are apt descriptions of this silly and often-inane depiction of THE BOOK OF MORMON. But underneath all of the shenanigans is an old-fashioned musical comedy about how faith -- in anything -- can overcome adversity, hunger, devastation -- and even savage warlords.
"South Park" creators Trey Parker and Matt Stone have enlisted "Avenue Q" composer Robert Lopez to collaborate on this fairy tale about two eager young Mormon missionaries who reluctantly go off to Uganda for their first assignment. Their mission is to baptize and save the souls of some down-trodden jungle inhabitants.
In their journey, they find out life here is not a Disney-like Lion King environment, but the trip turns out to be both a revelation and a revitalization about the power of faith.
One of them, played by Andrew Rannells, is an over-achiever; the other, played by Josh Gad, is a bumbling oaf. In the course of two hours, their personalities and roles are totally changed, all due to the satiric approach to religion -- particularly, Mormonism -- which they adapt to their own needs, and the needs of the villagers.
The direction by Casey Nicholaw and Trey Parker is right on target for this panoramic show, as they develop the pungent story line which allows all the characters to achieve their happy endings. It doesn't always make sense, but it is continuously funny, and often meaningful.
ARCADIA at the Ethel Barrymore Theatre
(Seen 3/23/11)
With this impressive revival of Tom Stoppard's illuminating drama, director David Leveaux has redeemed himself from some of his recent pedestrian ventures.
Prior to its New York debut in 1993, a feature story in the New York Times talked about the 100s of reference books one might want to read before seeing this monumental work, with all its intellectual allusions to mathematics, poetry, physics, history, creativity, and social interaction. The current production, like its previous one, requires only the patience and attentiveness of serious theatre-goers to appreciate this delightful tour-de-force.
Two exceptional new performers -- new to me -- are John Riley and Bel Powly, who recreate the roles of a tutor and his young pupil. They are riveting and pliant young actors who command the stage with style and simplicity. Billy Crudup captures the unctuous qualities of a snobbish academic. And once again, Raul Esparza proves that he is capable of a wide range of styles, with his easy accommodation to the needs of a character.
The entire cast works beautifully in a difficult ensemble piece. There is so much visual beauty, intelligent discourse, and dramatic strength in Stoppard's epic play. This current revival seems so much more accessible than the first time around. It's another must-see for any serious theatre lover.
With this impressive revival of Tom Stoppard's illuminating drama, director David Leveaux has redeemed himself from some of his recent pedestrian ventures.
Prior to its New York debut in 1993, a feature story in the New York Times talked about the 100s of reference books one might want to read before seeing this monumental work, with all its intellectual allusions to mathematics, poetry, physics, history, creativity, and social interaction. The current production, like its previous one, requires only the patience and attentiveness of serious theatre-goers to appreciate this delightful tour-de-force.
Two exceptional new performers -- new to me -- are John Riley and Bel Powly, who recreate the roles of a tutor and his young pupil. They are riveting and pliant young actors who command the stage with style and simplicity. Billy Crudup captures the unctuous qualities of a snobbish academic. And once again, Raul Esparza proves that he is capable of a wide range of styles, with his easy accommodation to the needs of a character.
The entire cast works beautifully in a difficult ensemble piece. There is so much visual beauty, intelligent discourse, and dramatic strength in Stoppard's epic play. This current revival seems so much more accessible than the first time around. It's another must-see for any serious theatre lover.
PRISCILLA, QUEEN OF THE DESERT at the Palace Theatre
(Seen 3/22/11)
If glitz and tackiness are attractions for you, PRISCILLA... will be your thing. This is yet another re-creation of a film into an outlandish and tacky Broadway musical. It tells the story of three Australian drag queens and their journey through the famous outback, so that one of them can be re-united with his young son whom he doesn't know, while the veteran old queen can get away from her/his unhappy circumstances.
Unfortunately, the story of the re-union, seems deftly hidden behind the outrageous costumes and sets and props, while the story of the older queen finding himself again seems the main focus. And although it's a lovely story, deftly played out by Tony Sheldon, it somehow diminishes everything else, with its shades of LA CAGE.... It's also a juke-box musical, with songs and performers spanning several decades.
There's obviously an audience for a show about the behind-the-scenes lives of drag queens, and this has been tailored to feed that audience, as well as fans of the original film. But I found the heightened use of sequined and mirrored costumes and props and set pieces were mere visual opportunities to be outlandish, rather than to serve the needs of the show.
If glitz and tackiness are attractions for you, PRISCILLA... will be your thing. This is yet another re-creation of a film into an outlandish and tacky Broadway musical. It tells the story of three Australian drag queens and their journey through the famous outback, so that one of them can be re-united with his young son whom he doesn't know, while the veteran old queen can get away from her/his unhappy circumstances.
Unfortunately, the story of the re-union, seems deftly hidden behind the outrageous costumes and sets and props, while the story of the older queen finding himself again seems the main focus. And although it's a lovely story, deftly played out by Tony Sheldon, it somehow diminishes everything else, with its shades of LA CAGE.... It's also a juke-box musical, with songs and performers spanning several decades.
There's obviously an audience for a show about the behind-the-scenes lives of drag queens, and this has been tailored to feed that audience, as well as fans of the original film. But I found the heightened use of sequined and mirrored costumes and props and set pieces were mere visual opportunities to be outlandish, rather than to serve the needs of the show.
CACTUS FLOWER at the Westside Theatre/Upstairs
(Seen 3/12/11)
Abe Burrows' 1965 comedy is now here in a totally lack-luster production off-Broadway, whose only reason for being here seems to be the presence of Maxwell Caulfield in the leading role. Under Michael Bush's direction, the cast seems lost and uncomfortable, which adds up to a losing event for the audience.
I have to admit that the play shows signs of belonging in another era, which is probably why it has so few revivals. It is hokey and dated. It's the story of a dentist looking for love in all the wrong places -- when all the while, love is languishing in his own office. It has touches of would-be farce, which are never achieved.
The performers leave much to be desired, due mainly to the material and the director. I almost felt the personable cast seemed embarrassed to be there. And I can understand that.
Abe Burrows' 1965 comedy is now here in a totally lack-luster production off-Broadway, whose only reason for being here seems to be the presence of Maxwell Caulfield in the leading role. Under Michael Bush's direction, the cast seems lost and uncomfortable, which adds up to a losing event for the audience.
I have to admit that the play shows signs of belonging in another era, which is probably why it has so few revivals. It is hokey and dated. It's the story of a dentist looking for love in all the wrong places -- when all the while, love is languishing in his own office. It has touches of would-be farce, which are never achieved.
The performers leave much to be desired, due mainly to the material and the director. I almost felt the personable cast seemed embarrassed to be there. And I can understand that.
RAIN at the Neil Simon Theatre
(Seen 12/18/10)
In a less-than-par reminiscence of BEATLEMANIA, four singer-musicians dress like and imitate their original idols. Subtitled "A Tribute To The Beatles ON BROADWAY", this is strictly for Beatle fans who can't get enough pleasure from extant recordings and films, and want to try to re-live these songs and patter of the Fab Four with a like-minded live audience.
Starting out as a bar band in the 70s, these performers have dedicated their professional lives trying to recapture and spread the allure of the Beatles -- whose songs manage to survive even this re-incarnation. If you want to hear Beatle music, live, in a Broadway theatre, this is a show for you.
In a less-than-par reminiscence of BEATLEMANIA, four singer-musicians dress like and imitate their original idols. Subtitled "A Tribute To The Beatles ON BROADWAY", this is strictly for Beatle fans who can't get enough pleasure from extant recordings and films, and want to try to re-live these songs and patter of the Fab Four with a like-minded live audience.
Starting out as a bar band in the 70s, these performers have dedicated their professional lives trying to recapture and spread the allure of the Beatles -- whose songs manage to survive even this re-incarnation. If you want to hear Beatle music, live, in a Broadway theatre, this is a show for you.
THE BREAK OF NOON at the Lucille Lortel Theatre
(Seen 12/17/10)
Neil LaBute usually presents us with provocative ideas and characters -- not necessarily likeable people or happenings. BREAK OF NOON tells the story of a survivor of an office massacre -- a colorless, unhappy office manager, played by David Duchovny.
Duchovny's character claims that God spoke to him during the gunman's onslaught, and that God saved his life. In the aftermath of the event, he has found God, and feels he has a mission to spread the word. He preaches to a growing -- and well-paying -- audience.
But his transformation from sinner to saint is not clear. The question of whether or not he is a charlatan seems indifferent. The conflicted character has all his previous foibles. And as laid out by LaBute, the story is dull and unfulfilled, never developing to any satisfactory conclusion.
Director Jo Bonney has been unable to bring much life or clarity to the work. Performances by Duchovny and Amanda Peet (in a dual role) are workmanlike, but fail to catch fire with the potential underbelly of the characters -- mainly due to LaBute's failure to create characters of depth.
Neil LaBute usually presents us with provocative ideas and characters -- not necessarily likeable people or happenings. BREAK OF NOON tells the story of a survivor of an office massacre -- a colorless, unhappy office manager, played by David Duchovny.
Duchovny's character claims that God spoke to him during the gunman's onslaught, and that God saved his life. In the aftermath of the event, he has found God, and feels he has a mission to spread the word. He preaches to a growing -- and well-paying -- audience.
But his transformation from sinner to saint is not clear. The question of whether or not he is a charlatan seems indifferent. The conflicted character has all his previous foibles. And as laid out by LaBute, the story is dull and unfulfilled, never developing to any satisfactory conclusion.
Director Jo Bonney has been unable to bring much life or clarity to the work. Performances by Duchovny and Amanda Peet (in a dual role) are workmanlike, but fail to catch fire with the potential underbelly of the characters -- mainly due to LaBute's failure to create characters of depth.
THE MERCHANT OF VENICE at the Broadhuirst Theatre
(Seen 11/26/10)
The short move from Central Park to West 44th Street has only enhanced all the fine attributes demonstrated last summer in this astute and accessible version of THE MERCHANT OF VENICE. Credit director Daniel Sullivan and designer Mark Wendland for this successful transfer from an outdoor amphitheatre to the more intimate space at the Broadhurst.
It was a rare and exhilarating experience outdoors, despite ambient New York sound and bad acoustics. These minor obstacles are gone, and there is a more physical focus that now rivets your attention in so many of the intimate scenes.
Al Pacino, whose earlier performance was rich and flawless in its intensity, sensitiiivity, and humanity somehow seems to have reached even greater depth and meaning in his superb creation of Shylock as a believable and vulnerable human being.
The tricky set design carries the actions forward seamlessly and almost cinematically, without losing focus on the interactions of these varied social, political, and religious undertones. And Sullivan's added scene showing Shylock's further abasement at the hands of Portia and her entourage is even more riveting, while Pacino tries to salvage some personal dignity.
The ensemble cast truly serves the play rather than themselves. And it's a not-to-be-missed creation by Pacino.
The short move from Central Park to West 44th Street has only enhanced all the fine attributes demonstrated last summer in this astute and accessible version of THE MERCHANT OF VENICE. Credit director Daniel Sullivan and designer Mark Wendland for this successful transfer from an outdoor amphitheatre to the more intimate space at the Broadhurst.
It was a rare and exhilarating experience outdoors, despite ambient New York sound and bad acoustics. These minor obstacles are gone, and there is a more physical focus that now rivets your attention in so many of the intimate scenes.
Al Pacino, whose earlier performance was rich and flawless in its intensity, sensitiiivity, and humanity somehow seems to have reached even greater depth and meaning in his superb creation of Shylock as a believable and vulnerable human being.
The tricky set design carries the actions forward seamlessly and almost cinematically, without losing focus on the interactions of these varied social, political, and religious undertones. And Sullivan's added scene showing Shylock's further abasement at the hands of Portia and her entourage is even more riveting, while Pacino tries to salvage some personal dignity.
The ensemble cast truly serves the play rather than themselves. And it's a not-to-be-missed creation by Pacino.
A FREE MAN OF COLOR at the Vivian Beaumont Theatre
(Seen 11/24/10)
A monumental new work by John Guare takes us to New Orleans in 1801, just before the Louisiana Purchase changed the lives and lifestyles of Louisianans. It is the story of a former slave who not only buys his freedom, but becomes a philandering millionaire in this one-time French colony. After the United States takes control of the territory, his downfall quickly ensues.
This is his personal story, as well as society's and history's story. It is a sprawling and panoramic view of the times -- in the grand manner that Stoppard might pursue -- but unfortunately, it lacks the purpose and the focus that would lift it to another level of achievement.
The intertwining plots are drawn from from a variety of classic writers, and celebrities, who Guare acknowledges in a compact list under his own credit in the program. Byron, Congreve, Euripides, Jefferson, Milton, Moliere, Shakespeare, Napoleon -- and even Barbara Bush -- are among the olio of sources cited.
A huge cast under George C. Wolfe's direction strives to give life and meaning and momentum to this philosophical history lesson, and Jeffrey Wright as the title's free man of color, brings vitality and style to a complex role. But we are finally left with an unfulfilled endeavor of epic proportions.
A monumental new work by John Guare takes us to New Orleans in 1801, just before the Louisiana Purchase changed the lives and lifestyles of Louisianans. It is the story of a former slave who not only buys his freedom, but becomes a philandering millionaire in this one-time French colony. After the United States takes control of the territory, his downfall quickly ensues.
This is his personal story, as well as society's and history's story. It is a sprawling and panoramic view of the times -- in the grand manner that Stoppard might pursue -- but unfortunately, it lacks the purpose and the focus that would lift it to another level of achievement.
The intertwining plots are drawn from from a variety of classic writers, and celebrities, who Guare acknowledges in a compact list under his own credit in the program. Byron, Congreve, Euripides, Jefferson, Milton, Moliere, Shakespeare, Napoleon -- and even Barbara Bush -- are among the olio of sources cited.
A huge cast under George C. Wolfe's direction strives to give life and meaning and momentum to this philosophical history lesson, and Jeffrey Wright as the title's free man of color, brings vitality and style to a complex role. But we are finally left with an unfulfilled endeavor of epic proportions.
THE PITMAN PAINTERS at MTC's Samuel Friedman Theatre
(Seen 10/2/10)
Writer Lee Hall once again demonstrates his ability to tell an engrossing story about unlikely persistence triumphing against many odds. Probably best known for his work as the writer of both the film and Broadway musical, BILLY ELLIOT, Hall has now written about a group of coal pit miners who join a union-sponsored class in art appreciation, which develops into a class of art creation.
Although somewhat predictable, and often sentimental, we see this disparate group cohere into a coterie of real artists who become famous in their native Britain. Based on a true story, Hall has fleshed out these varied 'types', and with respect and intelligence, has shown their progress from coal miners to professional artists. He has interwoven their development with a number of social, personal, and financial choices they are forced to make along the road to success.
The ensemble cast, under the astute direction of Max Roberts, brings out the passion behind the creative work of these unschooled pitmen-painters. It is a feel-good play, as we discover people rising above their original callings.
Writer Lee Hall once again demonstrates his ability to tell an engrossing story about unlikely persistence triumphing against many odds. Probably best known for his work as the writer of both the film and Broadway musical, BILLY ELLIOT, Hall has now written about a group of coal pit miners who join a union-sponsored class in art appreciation, which develops into a class of art creation.
Although somewhat predictable, and often sentimental, we see this disparate group cohere into a coterie of real artists who become famous in their native Britain. Based on a true story, Hall has fleshed out these varied 'types', and with respect and intelligence, has shown their progress from coal miners to professional artists. He has interwoven their development with a number of social, personal, and financial choices they are forced to make along the road to success.
The ensemble cast, under the astute direction of Max Roberts, brings out the passion behind the creative work of these unschooled pitmen-painters. It is a feel-good play, as we discover people rising above their original callings.
BRIEF ENCOUNTER at Roundabout's Studio 54
(Seen 11/1/10)
A thoroughly enchanting and entertaining experience awaits theatre-goers at this ultra-clever re-interpretation of Noel Coward's classic play and film. With British understatement and overstatement, director/adapter Emma Rice brings her Kneehigh Theatre Company's production to a joyous and visually exciting realization at Studio 54.
The basic story of an unconsummated love affair of two strangers who meet and fall in love at a railway station is so smartly portrayed in this mixture of live performers interacting with film sequences, and with a multitude of simple props, all set against a background of everyday British life.
It is the stuff of British music halls and buskers, punctuated by few words, much action, many visuals, and pertinent songs by Noel Coward and Stu Barker.
Its ensemble cast of nine, led by Hannah Yelland and Tristan Sturrock as the unfulfilled lovers, are multi-talented and perfectly attuned to their varied roles. This is an inventive theatre piece which Emma Rice projects wonderfully from its grounded Coward roots to a soaring height of enjoyment.
A thoroughly enchanting and entertaining experience awaits theatre-goers at this ultra-clever re-interpretation of Noel Coward's classic play and film. With British understatement and overstatement, director/adapter Emma Rice brings her Kneehigh Theatre Company's production to a joyous and visually exciting realization at Studio 54.
The basic story of an unconsummated love affair of two strangers who meet and fall in love at a railway station is so smartly portrayed in this mixture of live performers interacting with film sequences, and with a multitude of simple props, all set against a background of everyday British life.
It is the stuff of British music halls and buskers, punctuated by few words, much action, many visuals, and pertinent songs by Noel Coward and Stu Barker.
Its ensemble cast of nine, led by Hannah Yelland and Tristan Sturrock as the unfulfilled lovers, are multi-talented and perfectly attuned to their varied roles. This is an inventive theatre piece which Emma Rice projects wonderfully from its grounded Coward roots to a soaring height of enjoyment.
8/14/10
IN THE NEXT ROOM -- or -- the vibrator play -- at the Lyceum Theatre
(Seen 11/25/09)
Although funny at times, this one joke/one note play by Sarah Ruhl, about creating orgasms to treat hysteria in Victorian times in suburban America, doesn't really have a fulfilling climax.
A more-than-capable cast sometimes seems uncomfortable saying silly words and doing silly actions. Based on actual historic medical theories and electric devices, Ruhl has contrived a series of events and interactions around a varied group of social classes.
Although billed as a comedy, with feigned tittering and mock-shock by the characters about the going-ons in the next room, Ruhl still seems to want to make a broader statement about the role of women in marriage, and sexual satisfaction for them --- and perhaps, for men, too --- and the choices that women can make for themselves.
However, it ends up being a precious and preachy fairy tale, with a symbolic happy ending. Electrical stimulation of our sexual organs, in the next room --- the heart of this play --- doesn't necessarily translate into potent theatre comedy.
Although funny at times, this one joke/one note play by Sarah Ruhl, about creating orgasms to treat hysteria in Victorian times in suburban America, doesn't really have a fulfilling climax.
A more-than-capable cast sometimes seems uncomfortable saying silly words and doing silly actions. Based on actual historic medical theories and electric devices, Ruhl has contrived a series of events and interactions around a varied group of social classes.
Although billed as a comedy, with feigned tittering and mock-shock by the characters about the going-ons in the next room, Ruhl still seems to want to make a broader statement about the role of women in marriage, and sexual satisfaction for them --- and perhaps, for men, too --- and the choices that women can make for themselves.
However, it ends up being a precious and preachy fairy tale, with a symbolic happy ending. Electrical stimulation of our sexual organs, in the next room --- the heart of this play --- doesn't necessarily translate into potent theatre comedy.
RAGTIME at the Neil Simon Theatre
(Seen 11/18/09)
This blockbuster musical from 1998 has been pared down scenically, but remains an epic in scope. The emphasis by director Marcia Milgrom Dodge is now centered on the three disparate families, who are each dealing with their personal problems, while coming of age against a background of a changing political and societal life in America.
This is still a visually broad landscape, but we get a more intimate interaction with the three families, so that we care about them as individuals rather than as prototypes. The large cast is impressive, vocally and dramatically.
Although there may not be any "break-out" performances, each member of the symbolic families are to be highly praised --- especially Christiane Noll and Robert Petkoff, and particularly, Bobby Steggert, who each bring a special nuanced depth to their characters.
The music of Stephen Flaherty and lyrics of Lynn Ahrens ably serve the panoramic book by Terrence McNally.
This blockbuster musical from 1998 has been pared down scenically, but remains an epic in scope. The emphasis by director Marcia Milgrom Dodge is now centered on the three disparate families, who are each dealing with their personal problems, while coming of age against a background of a changing political and societal life in America.
This is still a visually broad landscape, but we get a more intimate interaction with the three families, so that we care about them as individuals rather than as prototypes. The large cast is impressive, vocally and dramatically.
Although there may not be any "break-out" performances, each member of the symbolic families are to be highly praised --- especially Christiane Noll and Robert Petkoff, and particularly, Bobby Steggert, who each bring a special nuanced depth to their characters.
The music of Stephen Flaherty and lyrics of Lynn Ahrens ably serve the panoramic book by Terrence McNally.
NIGHTINGALE at MTC's City Center Stage I
(Seen 11/11/09)
Lynn Redgraves's current venture is a solo show in which she is the star and the author. It is about her maternal grandmother, and is the imagined life she might have led, based on some facts and reminiscences.
Redgrave is seated throughout the show, which is a memory piece, which may or may not be true.
Although Redgrave is a fascinating performer, the material is more interesting to her than to her audience -- who seemed more respectful than involved.
A virtuoso performer indulging herself with her dedicated fans.
Lynn Redgraves's current venture is a solo show in which she is the star and the author. It is about her maternal grandmother, and is the imagined life she might have led, based on some facts and reminiscences.
Redgrave is seated throughout the show, which is a memory piece, which may or may not be true.
Although Redgrave is a fascinating performer, the material is more interesting to her than to her audience -- who seemed more respectful than involved.
A virtuoso performer indulging herself with her dedicated fans.
THE UNDERSTUDY at the Roundabout's Laura Pels Theatre
(Seen 11/10/09)
The prolific and talented playwright --- let's make that the prolifically PRODUCED playwright --- Theresa Rebeck, has written a funny, acerbic, entertaining back-stage comedy-farce. And the highly talented Julie White, as a Broadway stage manager, heads up the most able cast of three.
Justin Kirk plays a disappointed and troublesome 2nd-tier stage actor, who changes his name, hoping to change his image. And Mark Paul Gosselaar plays a Hollywood action star making his Broadway acting debut.
Rebeck has contrived a series of stock farce maneuvers --- former lovers in a surprise encounter, air-headed film star with aspirations to do meaningful theatre work, and a newly discovered Kafka play to bring them all together. The dialogue is witty and the action is fast moving.
The problem is that the situation is entirely unbelievable: a Broadway stage manager running an understudy rehearsal on stage, by herself, with no other cast members around; and a single crew member in the booth, high on pot, trying to run lights and move sets by himself. In addition, the movie star stops by, because he is also understudying another role in his own star vehicle!
Rebeck has also set up frequent off-stage phone calls, water and bathroom breaks in order to give individual and duo actors their own moments on stage.
Empty though enjoyable.
The prolific and talented playwright --- let's make that the prolifically PRODUCED playwright --- Theresa Rebeck, has written a funny, acerbic, entertaining back-stage comedy-farce. And the highly talented Julie White, as a Broadway stage manager, heads up the most able cast of three.
Justin Kirk plays a disappointed and troublesome 2nd-tier stage actor, who changes his name, hoping to change his image. And Mark Paul Gosselaar plays a Hollywood action star making his Broadway acting debut.
Rebeck has contrived a series of stock farce maneuvers --- former lovers in a surprise encounter, air-headed film star with aspirations to do meaningful theatre work, and a newly discovered Kafka play to bring them all together. The dialogue is witty and the action is fast moving.
The problem is that the situation is entirely unbelievable: a Broadway stage manager running an understudy rehearsal on stage, by herself, with no other cast members around; and a single crew member in the booth, high on pot, trying to run lights and move sets by himself. In addition, the movie star stops by, because he is also understudying another role in his own star vehicle!
Rebeck has also set up frequent off-stage phone calls, water and bathroom breaks in order to give individual and duo actors their own moments on stage.
Empty though enjoyable.
IDIOT SAVANT at the Public Theater
(Seen 10/31/09)
Iconic theatre names and talents are not enough to insure good theatre --- we see this season after season as projects that look great on paper become unbelievably distraught on stage.
Richard Foreman has written, directed, and designed this new show, as he has done for more than fifty of his numerous theatre presentations. Theatre veterans are familiar with his many trade-mark touches and idiosyncrasies. But for me, and some members of the audience when I attended, IDIOT SAVANT is a painfully, unsuccessful attempt at creating the kind of work for which his Ontological-Hysteric Theatre became famous.
Willem Dafoe returns to his Foreman roots, starring in the current creation. Obviously he is attracting many young movie fans who want to see him on stage. I hope if they are new to the theatre, they are not turned off by this ludicrous, boring, inept, repetitive work. I found the humor humorless and the performances totally precious --- though this was a perfect match for the material.
Iconic theatre names and talents are not enough to insure good theatre --- we see this season after season as projects that look great on paper become unbelievably distraught on stage.
Richard Foreman has written, directed, and designed this new show, as he has done for more than fifty of his numerous theatre presentations. Theatre veterans are familiar with his many trade-mark touches and idiosyncrasies. But for me, and some members of the audience when I attended, IDIOT SAVANT is a painfully, unsuccessful attempt at creating the kind of work for which his Ontological-Hysteric Theatre became famous.
Willem Dafoe returns to his Foreman roots, starring in the current creation. Obviously he is attracting many young movie fans who want to see him on stage. I hope if they are new to the theatre, they are not turned off by this ludicrous, boring, inept, repetitive work. I found the humor humorless and the performances totally precious --- though this was a perfect match for the material.
SUPERIOR DONUTS at the Music Box
(Seen 10/28/09)
Comfort food aplenty is being dispersed at the SUPERIOR DONUTS shop --- really a diner, of sorts, and American diners are legend for comfort foods, with a liberal portion of heartburn thrown in for free!
Tracy Letts' new play. straight from its creation at Steppenwolf, hits Broadway with a tug at your heart, and a panoply of all the street people that inhabit a seedy part of Chicago, now going upscale.
But our hero, Arthur, is still stuck in his Vietnam draft-dodging days, attired in T-shirts from a past musical era and sporting a graying ponytail. Team him up with a young, black hustler-type, who is writing the great American novel while sinking in gambling debts, and acerbic laughter and verbal fireworks explode.
The play has all the elements of a past Norman Lear tv sitcom --- but the exceptional and dynamic acting by Michael McKean snd John Michael Hill raises the believability level. Unfortunately, the play, with all its sub-plots and machinations, doesn't move them out of a predictable melodramatic story, which tidily ends, rather than finishes.
"Superior" may reflect the donuts or the street or the Great Lake, but the play needs more leavening and less frosting.
Comfort food aplenty is being dispersed at the SUPERIOR DONUTS shop --- really a diner, of sorts, and American diners are legend for comfort foods, with a liberal portion of heartburn thrown in for free!
Tracy Letts' new play. straight from its creation at Steppenwolf, hits Broadway with a tug at your heart, and a panoply of all the street people that inhabit a seedy part of Chicago, now going upscale.
But our hero, Arthur, is still stuck in his Vietnam draft-dodging days, attired in T-shirts from a past musical era and sporting a graying ponytail. Team him up with a young, black hustler-type, who is writing the great American novel while sinking in gambling debts, and acerbic laughter and verbal fireworks explode.
The play has all the elements of a past Norman Lear tv sitcom --- but the exceptional and dynamic acting by Michael McKean snd John Michael Hill raises the believability level. Unfortunately, the play, with all its sub-plots and machinations, doesn't move them out of a predictable melodramatic story, which tidily ends, rather than finishes.
"Superior" may reflect the donuts or the street or the Great Lake, but the play needs more leavening and less frosting.
BRIGHTON BEACH MEMOIRS at the Nederlander Theatre
(Seen 10/27/09)
Director David Cromer delivers a first class revival of Neil Simon's play about growing up Jewish in Brooklyn. It will soon be followed by BROADWAY BOUND, and they will play in repertory.
The multi-ethnic cast includes Dennis Boutsikaris. Santino Fontana, Laurie Metcalf, Jessica Hecht, Noah Robbins, Alexandra Socha, and Gracie Bea Lawrence --- all searching their Jewish souls for laughter, pain, angst, guilt, and all the other traits that Simon has imbued them with.
Cromer has wrought portrayals of depth, humor, and sadness from his very capable ensemble cast, and we are drawn into this wonderfully crafted play. We are entertained and moved, as the disparate family struggles to survive and flourish, overcoming their varied problems.
Strong individual performances and scenes meld into a nostalgic and engrossing evening of theatre.
Director David Cromer delivers a first class revival of Neil Simon's play about growing up Jewish in Brooklyn. It will soon be followed by BROADWAY BOUND, and they will play in repertory.
The multi-ethnic cast includes Dennis Boutsikaris. Santino Fontana, Laurie Metcalf, Jessica Hecht, Noah Robbins, Alexandra Socha, and Gracie Bea Lawrence --- all searching their Jewish souls for laughter, pain, angst, guilt, and all the other traits that Simon has imbued them with.
Cromer has wrought portrayals of depth, humor, and sadness from his very capable ensemble cast, and we are drawn into this wonderfully crafted play. We are entertained and moved, as the disparate family struggles to survive and flourish, overcoming their varied problems.
Strong individual performances and scenes meld into a nostalgic and engrossing evening of theatre.
EMBRACEABLE ME at the Kirk Theatre
(Seen 10/25/09)
Victor L. Cahn has written a likeable two-character play about the foibles of a mismatched relationship. Each of the duo tells us her/his version of their diminishing involvement.
Keira Naughton and Scott Barrow are personable performers who inhabit their roles well, but they have been short-changed by their playwright. The story of this 80-minute he said/she said exchange doesn't develop into anything more than some interesting interludes.
Victor L. Cahn has written a likeable two-character play about the foibles of a mismatched relationship. Each of the duo tells us her/his version of their diminishing involvement.
Keira Naughton and Scott Barrow are personable performers who inhabit their roles well, but they have been short-changed by their playwright. The story of this 80-minute he said/she said exchange doesn't develop into anything more than some interesting interludes.
AFTER MISS JULIE at Roundabout's AA Theatre
(Seen 10/23/09)
I have no problem with updating theatre classics --- having done so myself --- but only if it improves it or adds new elements to it that makes the work more accessible to contemporary audiences. Unfortunately, this is not the case in the Patrick Marber adaptation of the Strindberg play.
He has set the action in 1945 Britain, still a class-conscious society, though on the verge of some societal class changes. It makes an interesting back drop, but doesn't really mesh. And there is no chemistry nor charisma on stage, so there is little for us to care about.
Director Mark Brokaw and movie starlet Sienna Miller are the main problems, besides those with the script. Brokaw has given us a series of stage poses, particularly with Ms. Miller, that evoke audience laughter. Julie comes across as a spoiled, snobbish teenager pretending to be sexy and seductive -- but this fails because the actress seems that way rather than the character, and renders her ludicrous.
I have no problem with updating theatre classics --- having done so myself --- but only if it improves it or adds new elements to it that makes the work more accessible to contemporary audiences. Unfortunately, this is not the case in the Patrick Marber adaptation of the Strindberg play.
He has set the action in 1945 Britain, still a class-conscious society, though on the verge of some societal class changes. It makes an interesting back drop, but doesn't really mesh. And there is no chemistry nor charisma on stage, so there is little for us to care about.
Director Mark Brokaw and movie starlet Sienna Miller are the main problems, besides those with the script. Brokaw has given us a series of stage poses, particularly with Ms. Miller, that evoke audience laughter. Julie comes across as a spoiled, snobbish teenager pretending to be sexy and seductive -- but this fails because the actress seems that way rather than the character, and renders her ludicrous.
MEMPHIS at the Shubert Theatre
(Seen 10/22/09)
An excellent new musical has finally come to Broadway, after more than six years struggling in-an-out of development. When you get down to basics, one of the main reasons I like it --- and many of my colleagues disparage it --- is because it is a linear musical. with a beginning/middle/end, with characters you can care about.
It is set in the social and political milieu of the 50s, in segregated Memphis. It is exciting and often powerful, despite its simple plot lines. It doesn't matter that the characters are somewhat stereotypical because the extremely talented cast inhabit their roles so thoroughly, they bring a reality and an individual personality to each of them.
Chad Kimball and Montego Glover, as the ill-starred lovers, flouting racial barriers, are exceptional, both musically and dramatically.
Director Christopher Ashley imbues the huge cast with energy and purpose, and choreographer Sergio Trujillo is once again sparking his routines superbly. David Bryan and Joe DiPietro have written a score that serves the material ably and beautifully.
An excellent new musical has finally come to Broadway, after more than six years struggling in-an-out of development. When you get down to basics, one of the main reasons I like it --- and many of my colleagues disparage it --- is because it is a linear musical. with a beginning/middle/end, with characters you can care about.
It is set in the social and political milieu of the 50s, in segregated Memphis. It is exciting and often powerful, despite its simple plot lines. It doesn't matter that the characters are somewhat stereotypical because the extremely talented cast inhabit their roles so thoroughly, they bring a reality and an individual personality to each of them.
Chad Kimball and Montego Glover, as the ill-starred lovers, flouting racial barriers, are exceptional, both musically and dramatically.
Director Christopher Ashley imbues the huge cast with energy and purpose, and choreographer Sergio Trujillo is once again sparking his routines superbly. David Bryan and Joe DiPietro have written a score that serves the material ably and beautifully.
BYE-BYE BIRDIE at Roundabout's Henry Miller Theatre
(Seen 10/21/09)
Charles Strouse/Lee Adams/Michael Stewart's genre musical returns to New York 48 years after its original debut. Unfortunately, the present version doesn't merit our greeting or attention. It comes across as a dated relic, even out-of-touch with its own time.
John Stamos is very personable and Gina Gershon is very lovely and endearing; Bill Irwin is totally out of his element in a bizarre performance. Allie Trimm stands out both in her singing and acting. But the show, seemingly miscast, is loosely directed and choreographed, Musically, the show falters at almost every level. Even such now-classic songs like "Put On A Happy Face" and "A Lot Of Livin' To Do" are musically unsatisfactory in this revival.
So much talent seems to be wasted. I look forward to better things from all involved.
Charles Strouse/Lee Adams/Michael Stewart's genre musical returns to New York 48 years after its original debut. Unfortunately, the present version doesn't merit our greeting or attention. It comes across as a dated relic, even out-of-touch with its own time.
John Stamos is very personable and Gina Gershon is very lovely and endearing; Bill Irwin is totally out of his element in a bizarre performance. Allie Trimm stands out both in her singing and acting. But the show, seemingly miscast, is loosely directed and choreographed, Musically, the show falters at almost every level. Even such now-classic songs like "Put On A Happy Face" and "A Lot Of Livin' To Do" are musically unsatisfactory in this revival.
So much talent seems to be wasted. I look forward to better things from all involved.
OLEANNA at the Golden Theatre
(Seen 10/14/09)
In this incarnation of David Mamet's OLEANNA, returning to New York on Broadway, the cards seem to be more stacked against its poor male character than when it opened off-Broadway many years ago. The dialogue seems the same, intelligent and pointed, but the directorial attitude and the physical environment have charged and changed the balance of power.
Somehow, the situation of a failing female student, obviously psychologically disturbed, destroying the personal and professional life of an established professor, by crying 'sexual harassment', is an unlikely development, given the patently disturbed mental state of the accuser. While the low-key performances by Julia Stiles and Bill Pullman are on target, as controllably directed by Doug Hughes, they are in a totally unbelievable situation. It's hard to accept this as dramatic conflict.
Adding to the disbelief of this academic encounter is the vast office set, with the scenes interrupted by huge mechanical horizontal shades noisily lumbering up and down.
While David Mamet is a potent wordsmith, and usually a formidable story teller, this play becomes annoying rather than provocative.
In this incarnation of David Mamet's OLEANNA, returning to New York on Broadway, the cards seem to be more stacked against its poor male character than when it opened off-Broadway many years ago. The dialogue seems the same, intelligent and pointed, but the directorial attitude and the physical environment have charged and changed the balance of power.
Somehow, the situation of a failing female student, obviously psychologically disturbed, destroying the personal and professional life of an established professor, by crying 'sexual harassment', is an unlikely development, given the patently disturbed mental state of the accuser. While the low-key performances by Julia Stiles and Bill Pullman are on target, as controllably directed by Doug Hughes, they are in a totally unbelievable situation. It's hard to accept this as dramatic conflict.
Adding to the disbelief of this academic encounter is the vast office set, with the scenes interrupted by huge mechanical horizontal shades noisily lumbering up and down.
While David Mamet is a potent wordsmith, and usually a formidable story teller, this play becomes annoying rather than provocative.
THE ROYAL FAMILY at the MTC's Samuel J. Friedman Theatre
(Seen 10/10/09)
George S. Kaufman and Edna Ferber were creatures of the theatre, and they stacked every aspect and element of it into this romp about a high-profile, beloved theatrical family in the 1920s.
Director Doug Hughes has turned up the speed and fury of this funny and witty excursion into an extended family's dedicated life in "the theatre", sometimes making it feel like a Marx Brothers farce. Aside from the delightful and totally nuanced performances of Rosemary Harris and Jan Maxwell, the large and excellent featured cast playfully labors to keep the action going non-stop.
One of the main audiences for the show will probably be everyone working in the theatre, who will recognize the references and situations in this dated comedy. But all audience will appreciate the humor and love portrayed by a very talented cast that seems to be thoroughly enjoying their roles.
George S. Kaufman and Edna Ferber were creatures of the theatre, and they stacked every aspect and element of it into this romp about a high-profile, beloved theatrical family in the 1920s.
Director Doug Hughes has turned up the speed and fury of this funny and witty excursion into an extended family's dedicated life in "the theatre", sometimes making it feel like a Marx Brothers farce. Aside from the delightful and totally nuanced performances of Rosemary Harris and Jan Maxwell, the large and excellent featured cast playfully labors to keep the action going non-stop.
One of the main audiences for the show will probably be everyone working in the theatre, who will recognize the references and situations in this dated comedy. But all audience will appreciate the humor and love portrayed by a very talented cast that seems to be thoroughly enjoying their roles.
HAMLET at the Broadhurst Theatre
(Seen 10/9/09)
I am pleased that I am not jaded by yet another production of HAMLET. Unlike many nay-say reviewers, I found this a most accessible Shakespearean presentation, both visually and verbally. And its unstoppable athletic movie star, Jude Law, gives an outstandingly viable life to the often melancholy Dane.
The whole cast, with the exception of Ophelia, make this HAMLET easy to listen to and understand, without sacrificing the verse. Director Michael Grandage created a cinematic flow for the intense action, and made the various comedy aspects stable counterpoints to the classic tragedy.
Somber and epic-like, it is a total audience pleasing experience, while maintaining its beauty and depth.
I am pleased that I am not jaded by yet another production of HAMLET. Unlike many nay-say reviewers, I found this a most accessible Shakespearean presentation, both visually and verbally. And its unstoppable athletic movie star, Jude Law, gives an outstandingly viable life to the often melancholy Dane.
The whole cast, with the exception of Ophelia, make this HAMLET easy to listen to and understand, without sacrificing the verse. Director Michael Grandage created a cinematic flow for the intense action, and made the various comedy aspects stable counterpoints to the classic tragedy.
Somber and epic-like, it is a total audience pleasing experience, while maintaining its beauty and depth.
WISHFUL DRINKING at Roundabout Theatre's Studio 54
(Seen 10/7/09)
Another Hollywood celebrity has come to Broadway, stripped emotionally naked and vulnerable, but always aware that she must entertain us while shocking us with her inner personal revelations.
Carrie Fisher has written, and stars in, a solo performance piece, which seems to act as a catharsis, after her many years of drowning herself in the dark side of the so-called Hollywood scene.
With the help of all kinds of visual aids, and director Tony Taccone, she reveals everything we never really wanted to know, and probably knew anyway, about her drug use, her famous parents, her breakdowns. She recounts her descent into a personal hell from which she has mostly pulled herself out.
It is a tour-de-force performance for her, and an enjoyable and illuminating evening in the theatre. She does not disappoint us.
Another Hollywood celebrity has come to Broadway, stripped emotionally naked and vulnerable, but always aware that she must entertain us while shocking us with her inner personal revelations.
Carrie Fisher has written, and stars in, a solo performance piece, which seems to act as a catharsis, after her many years of drowning herself in the dark side of the so-called Hollywood scene.
With the help of all kinds of visual aids, and director Tony Taccone, she reveals everything we never really wanted to know, and probably knew anyway, about her drug use, her famous parents, her breakdowns. She recounts her descent into a personal hell from which she has mostly pulled herself out.
It is a tour-de-force performance for her, and an enjoyable and illuminating evening in the theatre. She does not disappoint us.
A STEADY RAIN at the Schoenfeld Theatre
(Seen 10/1/09)
Film stars have not always fared well on Broadway. Their celebrity has brought fans to the theatre, but not necessarily any critical accolades. In fact, movie superstars have often been the targets of some reviewers.
Daniel Craig and Hugh Jackman are now delivering two of the finest performances on Broadway --- they have set a high standard for the season, which will be filled with film stars as this new season progresses.
They are in a new play by Keith Huff, directed by John Crowley, which leaves a lot be desired as for character, plot, and development. But it provides a very viable vehicle for the tremendous talents of its two-person cast. It allows them to inhabit a wide range of emotions and a meaningful physical life.
It is quite apparent that their superficial filmic adventures have not blunted the theatre acumen and stage presence of these two actors.
Film stars have not always fared well on Broadway. Their celebrity has brought fans to the theatre, but not necessarily any critical accolades. In fact, movie superstars have often been the targets of some reviewers.
Daniel Craig and Hugh Jackman are now delivering two of the finest performances on Broadway --- they have set a high standard for the season, which will be filled with film stars as this new season progresses.
They are in a new play by Keith Huff, directed by John Crowley, which leaves a lot be desired as for character, plot, and development. But it provides a very viable vehicle for the tremendous talents of its two-person cast. It allows them to inhabit a wide range of emotions and a meaningful physical life.
It is quite apparent that their superficial filmic adventures have not blunted the theatre acumen and stage presence of these two actors.
ESTROGENIUS FESTIVAL at Manhattan Theatre Source
(Seen 9/30/09)
Now celebrating its 10th season, the Festival presents a varied series of short plays, written, directed, and produced by women. The evening I attended consisted of four comedic pieces, and one serious vignette with great political and social depth.
The casts of all the plays were accomplished and well-suited to the material. The comedy presentation were mostly amusing skits, in sharp contrast to the single thoughtful little drama.
Full disclosure on my part is that I am acquainted with Elaine Romero and her work -- so my bias is that I am a harsher judge of her work than I might be if I did not know her abilities.
That said, her current offering, REVOLUTIONS, though brief in length, is a fully-realized play. with developed characters, plot turns, and meaningful social comment, As ably directed by Laura Tesman, and movingly acted by Fulvia Vergel and Andrew Eisenman, it comes across as an effective piece of theatre. At the same time, it reveals enough backstory so that it could become part of a longer work.
Now celebrating its 10th season, the Festival presents a varied series of short plays, written, directed, and produced by women. The evening I attended consisted of four comedic pieces, and one serious vignette with great political and social depth.
The casts of all the plays were accomplished and well-suited to the material. The comedy presentation were mostly amusing skits, in sharp contrast to the single thoughtful little drama.
Full disclosure on my part is that I am acquainted with Elaine Romero and her work -- so my bias is that I am a harsher judge of her work than I might be if I did not know her abilities.
That said, her current offering, REVOLUTIONS, though brief in length, is a fully-realized play. with developed characters, plot turns, and meaningful social comment, As ably directed by Laura Tesman, and movingly acted by Fulvia Vergel and Andrew Eisenman, it comes across as an effective piece of theatre. At the same time, it reveals enough backstory so that it could become part of a longer work.
BURN THE FLOOR at the Longacre Theatre
(Seen 8/5/09)
The first Broadway show of the new 2009-2010 season leaped onto stage this week in a frenzy of non-stop dancing. BURN THE FLOOR features a troupe of professional dancers from around the world, in an energetic display of all shades of ballroom dancing, with a decided latin beat. There is no book or theme that ties the show together, though sinuous, sexual overtones pervade every number --- a series of duets and ensembles, performed to a combination of live and taped music.
It is obviously a show designed for a specific audience, and easily succeeds in turning them on. At times, the whistling and cheering and clapping even overshadowed the frenetic activity on stage. The audience seemed populated by the huge number of fans for popular TV reality dance shows --- specifically, "So You Think You Can Dance" and "Dancing With The Stars".
Although Broadway seems like an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficionados and the tourist crowd.
The first Broadway show of the new 2009-2010 season leaped onto stage this week in a frenzy of non-stop dancing. BURN THE FLOOR features a troupe of professional dancers from around the world, in an energetic display of all shades of ballroom dancing, with a decided latin beat. There is no book or theme that ties the show together, though sinuous, sexual overtones pervade every number --- a series of duets and ensembles, performed to a combination of live and taped music.
It is obviously a show designed for a specific audience, and easily succeeds in turning them on. At times, the whistling and cheering and clapping even overshadowed the frenetic activity on stage. The audience seemed populated by the huge number of fans for popular TV reality dance shows --- specifically, "So You Think You Can Dance" and "Dancing With The Stars".
Although Broadway seems like an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficionados and the tourist crowd.
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