(Seen 11/25/09)
Although funny at times, this one joke/one note play by Sarah Ruhl, about creating orgasms to treat hysteria in Victorian times in suburban America, doesn't really have a fulfilling climax.
A more-than-capable cast sometimes seems uncomfortable saying silly words and doing silly actions. Based on actual historic medical theories and electric devices, Ruhl has contrived a series of events and interactions around a varied group of social classes.
Although billed as a comedy, with feigned tittering and mock-shock by the characters about the going-ons in the next room, Ruhl still seems to want to make a broader statement about the role of women in marriage, and sexual satisfaction for them --- and perhaps, for men, too --- and the choices that women can make for themselves.
However, it ends up being a precious and preachy fairy tale, with a symbolic happy ending. Electrical stimulation of our sexual organs, in the next room --- the heart of this play --- doesn't necessarily translate into potent theatre comedy.
8/14/10
RAGTIME at the Neil Simon Theatre
(Seen 11/18/09)
This blockbuster musical from 1998 has been pared down scenically, but remains an epic in scope. The emphasis by director Marcia Milgrom Dodge is now centered on the three disparate families, who are each dealing with their personal problems, while coming of age against a background of a changing political and societal life in America.
This is still a visually broad landscape, but we get a more intimate interaction with the three families, so that we care about them as individuals rather than as prototypes. The large cast is impressive, vocally and dramatically.
Although there may not be any "break-out" performances, each member of the symbolic families are to be highly praised --- especially Christiane Noll and Robert Petkoff, and particularly, Bobby Steggert, who each bring a special nuanced depth to their characters.
The music of Stephen Flaherty and lyrics of Lynn Ahrens ably serve the panoramic book by Terrence McNally.
This blockbuster musical from 1998 has been pared down scenically, but remains an epic in scope. The emphasis by director Marcia Milgrom Dodge is now centered on the three disparate families, who are each dealing with their personal problems, while coming of age against a background of a changing political and societal life in America.
This is still a visually broad landscape, but we get a more intimate interaction with the three families, so that we care about them as individuals rather than as prototypes. The large cast is impressive, vocally and dramatically.
Although there may not be any "break-out" performances, each member of the symbolic families are to be highly praised --- especially Christiane Noll and Robert Petkoff, and particularly, Bobby Steggert, who each bring a special nuanced depth to their characters.
The music of Stephen Flaherty and lyrics of Lynn Ahrens ably serve the panoramic book by Terrence McNally.
NIGHTINGALE at MTC's City Center Stage I
(Seen 11/11/09)
Lynn Redgraves's current venture is a solo show in which she is the star and the author. It is about her maternal grandmother, and is the imagined life she might have led, based on some facts and reminiscences.
Redgrave is seated throughout the show, which is a memory piece, which may or may not be true.
Although Redgrave is a fascinating performer, the material is more interesting to her than to her audience -- who seemed more respectful than involved.
A virtuoso performer indulging herself with her dedicated fans.
Lynn Redgraves's current venture is a solo show in which she is the star and the author. It is about her maternal grandmother, and is the imagined life she might have led, based on some facts and reminiscences.
Redgrave is seated throughout the show, which is a memory piece, which may or may not be true.
Although Redgrave is a fascinating performer, the material is more interesting to her than to her audience -- who seemed more respectful than involved.
A virtuoso performer indulging herself with her dedicated fans.
THE UNDERSTUDY at the Roundabout's Laura Pels Theatre
(Seen 11/10/09)
The prolific and talented playwright --- let's make that the prolifically PRODUCED playwright --- Theresa Rebeck, has written a funny, acerbic, entertaining back-stage comedy-farce. And the highly talented Julie White, as a Broadway stage manager, heads up the most able cast of three.
Justin Kirk plays a disappointed and troublesome 2nd-tier stage actor, who changes his name, hoping to change his image. And Mark Paul Gosselaar plays a Hollywood action star making his Broadway acting debut.
Rebeck has contrived a series of stock farce maneuvers --- former lovers in a surprise encounter, air-headed film star with aspirations to do meaningful theatre work, and a newly discovered Kafka play to bring them all together. The dialogue is witty and the action is fast moving.
The problem is that the situation is entirely unbelievable: a Broadway stage manager running an understudy rehearsal on stage, by herself, with no other cast members around; and a single crew member in the booth, high on pot, trying to run lights and move sets by himself. In addition, the movie star stops by, because he is also understudying another role in his own star vehicle!
Rebeck has also set up frequent off-stage phone calls, water and bathroom breaks in order to give individual and duo actors their own moments on stage.
Empty though enjoyable.
The prolific and talented playwright --- let's make that the prolifically PRODUCED playwright --- Theresa Rebeck, has written a funny, acerbic, entertaining back-stage comedy-farce. And the highly talented Julie White, as a Broadway stage manager, heads up the most able cast of three.
Justin Kirk plays a disappointed and troublesome 2nd-tier stage actor, who changes his name, hoping to change his image. And Mark Paul Gosselaar plays a Hollywood action star making his Broadway acting debut.
Rebeck has contrived a series of stock farce maneuvers --- former lovers in a surprise encounter, air-headed film star with aspirations to do meaningful theatre work, and a newly discovered Kafka play to bring them all together. The dialogue is witty and the action is fast moving.
The problem is that the situation is entirely unbelievable: a Broadway stage manager running an understudy rehearsal on stage, by herself, with no other cast members around; and a single crew member in the booth, high on pot, trying to run lights and move sets by himself. In addition, the movie star stops by, because he is also understudying another role in his own star vehicle!
Rebeck has also set up frequent off-stage phone calls, water and bathroom breaks in order to give individual and duo actors their own moments on stage.
Empty though enjoyable.
IDIOT SAVANT at the Public Theater
(Seen 10/31/09)
Iconic theatre names and talents are not enough to insure good theatre --- we see this season after season as projects that look great on paper become unbelievably distraught on stage.
Richard Foreman has written, directed, and designed this new show, as he has done for more than fifty of his numerous theatre presentations. Theatre veterans are familiar with his many trade-mark touches and idiosyncrasies. But for me, and some members of the audience when I attended, IDIOT SAVANT is a painfully, unsuccessful attempt at creating the kind of work for which his Ontological-Hysteric Theatre became famous.
Willem Dafoe returns to his Foreman roots, starring in the current creation. Obviously he is attracting many young movie fans who want to see him on stage. I hope if they are new to the theatre, they are not turned off by this ludicrous, boring, inept, repetitive work. I found the humor humorless and the performances totally precious --- though this was a perfect match for the material.
Iconic theatre names and talents are not enough to insure good theatre --- we see this season after season as projects that look great on paper become unbelievably distraught on stage.
Richard Foreman has written, directed, and designed this new show, as he has done for more than fifty of his numerous theatre presentations. Theatre veterans are familiar with his many trade-mark touches and idiosyncrasies. But for me, and some members of the audience when I attended, IDIOT SAVANT is a painfully, unsuccessful attempt at creating the kind of work for which his Ontological-Hysteric Theatre became famous.
Willem Dafoe returns to his Foreman roots, starring in the current creation. Obviously he is attracting many young movie fans who want to see him on stage. I hope if they are new to the theatre, they are not turned off by this ludicrous, boring, inept, repetitive work. I found the humor humorless and the performances totally precious --- though this was a perfect match for the material.
SUPERIOR DONUTS at the Music Box
(Seen 10/28/09)
Comfort food aplenty is being dispersed at the SUPERIOR DONUTS shop --- really a diner, of sorts, and American diners are legend for comfort foods, with a liberal portion of heartburn thrown in for free!
Tracy Letts' new play. straight from its creation at Steppenwolf, hits Broadway with a tug at your heart, and a panoply of all the street people that inhabit a seedy part of Chicago, now going upscale.
But our hero, Arthur, is still stuck in his Vietnam draft-dodging days, attired in T-shirts from a past musical era and sporting a graying ponytail. Team him up with a young, black hustler-type, who is writing the great American novel while sinking in gambling debts, and acerbic laughter and verbal fireworks explode.
The play has all the elements of a past Norman Lear tv sitcom --- but the exceptional and dynamic acting by Michael McKean snd John Michael Hill raises the believability level. Unfortunately, the play, with all its sub-plots and machinations, doesn't move them out of a predictable melodramatic story, which tidily ends, rather than finishes.
"Superior" may reflect the donuts or the street or the Great Lake, but the play needs more leavening and less frosting.
Comfort food aplenty is being dispersed at the SUPERIOR DONUTS shop --- really a diner, of sorts, and American diners are legend for comfort foods, with a liberal portion of heartburn thrown in for free!
Tracy Letts' new play. straight from its creation at Steppenwolf, hits Broadway with a tug at your heart, and a panoply of all the street people that inhabit a seedy part of Chicago, now going upscale.
But our hero, Arthur, is still stuck in his Vietnam draft-dodging days, attired in T-shirts from a past musical era and sporting a graying ponytail. Team him up with a young, black hustler-type, who is writing the great American novel while sinking in gambling debts, and acerbic laughter and verbal fireworks explode.
The play has all the elements of a past Norman Lear tv sitcom --- but the exceptional and dynamic acting by Michael McKean snd John Michael Hill raises the believability level. Unfortunately, the play, with all its sub-plots and machinations, doesn't move them out of a predictable melodramatic story, which tidily ends, rather than finishes.
"Superior" may reflect the donuts or the street or the Great Lake, but the play needs more leavening and less frosting.
BRIGHTON BEACH MEMOIRS at the Nederlander Theatre
(Seen 10/27/09)
Director David Cromer delivers a first class revival of Neil Simon's play about growing up Jewish in Brooklyn. It will soon be followed by BROADWAY BOUND, and they will play in repertory.
The multi-ethnic cast includes Dennis Boutsikaris. Santino Fontana, Laurie Metcalf, Jessica Hecht, Noah Robbins, Alexandra Socha, and Gracie Bea Lawrence --- all searching their Jewish souls for laughter, pain, angst, guilt, and all the other traits that Simon has imbued them with.
Cromer has wrought portrayals of depth, humor, and sadness from his very capable ensemble cast, and we are drawn into this wonderfully crafted play. We are entertained and moved, as the disparate family struggles to survive and flourish, overcoming their varied problems.
Strong individual performances and scenes meld into a nostalgic and engrossing evening of theatre.
Director David Cromer delivers a first class revival of Neil Simon's play about growing up Jewish in Brooklyn. It will soon be followed by BROADWAY BOUND, and they will play in repertory.
The multi-ethnic cast includes Dennis Boutsikaris. Santino Fontana, Laurie Metcalf, Jessica Hecht, Noah Robbins, Alexandra Socha, and Gracie Bea Lawrence --- all searching their Jewish souls for laughter, pain, angst, guilt, and all the other traits that Simon has imbued them with.
Cromer has wrought portrayals of depth, humor, and sadness from his very capable ensemble cast, and we are drawn into this wonderfully crafted play. We are entertained and moved, as the disparate family struggles to survive and flourish, overcoming their varied problems.
Strong individual performances and scenes meld into a nostalgic and engrossing evening of theatre.
EMBRACEABLE ME at the Kirk Theatre
(Seen 10/25/09)
Victor L. Cahn has written a likeable two-character play about the foibles of a mismatched relationship. Each of the duo tells us her/his version of their diminishing involvement.
Keira Naughton and Scott Barrow are personable performers who inhabit their roles well, but they have been short-changed by their playwright. The story of this 80-minute he said/she said exchange doesn't develop into anything more than some interesting interludes.
Victor L. Cahn has written a likeable two-character play about the foibles of a mismatched relationship. Each of the duo tells us her/his version of their diminishing involvement.
Keira Naughton and Scott Barrow are personable performers who inhabit their roles well, but they have been short-changed by their playwright. The story of this 80-minute he said/she said exchange doesn't develop into anything more than some interesting interludes.
AFTER MISS JULIE at Roundabout's AA Theatre
(Seen 10/23/09)
I have no problem with updating theatre classics --- having done so myself --- but only if it improves it or adds new elements to it that makes the work more accessible to contemporary audiences. Unfortunately, this is not the case in the Patrick Marber adaptation of the Strindberg play.
He has set the action in 1945 Britain, still a class-conscious society, though on the verge of some societal class changes. It makes an interesting back drop, but doesn't really mesh. And there is no chemistry nor charisma on stage, so there is little for us to care about.
Director Mark Brokaw and movie starlet Sienna Miller are the main problems, besides those with the script. Brokaw has given us a series of stage poses, particularly with Ms. Miller, that evoke audience laughter. Julie comes across as a spoiled, snobbish teenager pretending to be sexy and seductive -- but this fails because the actress seems that way rather than the character, and renders her ludicrous.
I have no problem with updating theatre classics --- having done so myself --- but only if it improves it or adds new elements to it that makes the work more accessible to contemporary audiences. Unfortunately, this is not the case in the Patrick Marber adaptation of the Strindberg play.
He has set the action in 1945 Britain, still a class-conscious society, though on the verge of some societal class changes. It makes an interesting back drop, but doesn't really mesh. And there is no chemistry nor charisma on stage, so there is little for us to care about.
Director Mark Brokaw and movie starlet Sienna Miller are the main problems, besides those with the script. Brokaw has given us a series of stage poses, particularly with Ms. Miller, that evoke audience laughter. Julie comes across as a spoiled, snobbish teenager pretending to be sexy and seductive -- but this fails because the actress seems that way rather than the character, and renders her ludicrous.
MEMPHIS at the Shubert Theatre
(Seen 10/22/09)
An excellent new musical has finally come to Broadway, after more than six years struggling in-an-out of development. When you get down to basics, one of the main reasons I like it --- and many of my colleagues disparage it --- is because it is a linear musical. with a beginning/middle/end, with characters you can care about.
It is set in the social and political milieu of the 50s, in segregated Memphis. It is exciting and often powerful, despite its simple plot lines. It doesn't matter that the characters are somewhat stereotypical because the extremely talented cast inhabit their roles so thoroughly, they bring a reality and an individual personality to each of them.
Chad Kimball and Montego Glover, as the ill-starred lovers, flouting racial barriers, are exceptional, both musically and dramatically.
Director Christopher Ashley imbues the huge cast with energy and purpose, and choreographer Sergio Trujillo is once again sparking his routines superbly. David Bryan and Joe DiPietro have written a score that serves the material ably and beautifully.
An excellent new musical has finally come to Broadway, after more than six years struggling in-an-out of development. When you get down to basics, one of the main reasons I like it --- and many of my colleagues disparage it --- is because it is a linear musical. with a beginning/middle/end, with characters you can care about.
It is set in the social and political milieu of the 50s, in segregated Memphis. It is exciting and often powerful, despite its simple plot lines. It doesn't matter that the characters are somewhat stereotypical because the extremely talented cast inhabit their roles so thoroughly, they bring a reality and an individual personality to each of them.
Chad Kimball and Montego Glover, as the ill-starred lovers, flouting racial barriers, are exceptional, both musically and dramatically.
Director Christopher Ashley imbues the huge cast with energy and purpose, and choreographer Sergio Trujillo is once again sparking his routines superbly. David Bryan and Joe DiPietro have written a score that serves the material ably and beautifully.
BYE-BYE BIRDIE at Roundabout's Henry Miller Theatre
(Seen 10/21/09)
Charles Strouse/Lee Adams/Michael Stewart's genre musical returns to New York 48 years after its original debut. Unfortunately, the present version doesn't merit our greeting or attention. It comes across as a dated relic, even out-of-touch with its own time.
John Stamos is very personable and Gina Gershon is very lovely and endearing; Bill Irwin is totally out of his element in a bizarre performance. Allie Trimm stands out both in her singing and acting. But the show, seemingly miscast, is loosely directed and choreographed, Musically, the show falters at almost every level. Even such now-classic songs like "Put On A Happy Face" and "A Lot Of Livin' To Do" are musically unsatisfactory in this revival.
So much talent seems to be wasted. I look forward to better things from all involved.
Charles Strouse/Lee Adams/Michael Stewart's genre musical returns to New York 48 years after its original debut. Unfortunately, the present version doesn't merit our greeting or attention. It comes across as a dated relic, even out-of-touch with its own time.
John Stamos is very personable and Gina Gershon is very lovely and endearing; Bill Irwin is totally out of his element in a bizarre performance. Allie Trimm stands out both in her singing and acting. But the show, seemingly miscast, is loosely directed and choreographed, Musically, the show falters at almost every level. Even such now-classic songs like "Put On A Happy Face" and "A Lot Of Livin' To Do" are musically unsatisfactory in this revival.
So much talent seems to be wasted. I look forward to better things from all involved.
OLEANNA at the Golden Theatre
(Seen 10/14/09)
In this incarnation of David Mamet's OLEANNA, returning to New York on Broadway, the cards seem to be more stacked against its poor male character than when it opened off-Broadway many years ago. The dialogue seems the same, intelligent and pointed, but the directorial attitude and the physical environment have charged and changed the balance of power.
Somehow, the situation of a failing female student, obviously psychologically disturbed, destroying the personal and professional life of an established professor, by crying 'sexual harassment', is an unlikely development, given the patently disturbed mental state of the accuser. While the low-key performances by Julia Stiles and Bill Pullman are on target, as controllably directed by Doug Hughes, they are in a totally unbelievable situation. It's hard to accept this as dramatic conflict.
Adding to the disbelief of this academic encounter is the vast office set, with the scenes interrupted by huge mechanical horizontal shades noisily lumbering up and down.
While David Mamet is a potent wordsmith, and usually a formidable story teller, this play becomes annoying rather than provocative.
In this incarnation of David Mamet's OLEANNA, returning to New York on Broadway, the cards seem to be more stacked against its poor male character than when it opened off-Broadway many years ago. The dialogue seems the same, intelligent and pointed, but the directorial attitude and the physical environment have charged and changed the balance of power.
Somehow, the situation of a failing female student, obviously psychologically disturbed, destroying the personal and professional life of an established professor, by crying 'sexual harassment', is an unlikely development, given the patently disturbed mental state of the accuser. While the low-key performances by Julia Stiles and Bill Pullman are on target, as controllably directed by Doug Hughes, they are in a totally unbelievable situation. It's hard to accept this as dramatic conflict.
Adding to the disbelief of this academic encounter is the vast office set, with the scenes interrupted by huge mechanical horizontal shades noisily lumbering up and down.
While David Mamet is a potent wordsmith, and usually a formidable story teller, this play becomes annoying rather than provocative.
THE ROYAL FAMILY at the MTC's Samuel J. Friedman Theatre
(Seen 10/10/09)
George S. Kaufman and Edna Ferber were creatures of the theatre, and they stacked every aspect and element of it into this romp about a high-profile, beloved theatrical family in the 1920s.
Director Doug Hughes has turned up the speed and fury of this funny and witty excursion into an extended family's dedicated life in "the theatre", sometimes making it feel like a Marx Brothers farce. Aside from the delightful and totally nuanced performances of Rosemary Harris and Jan Maxwell, the large and excellent featured cast playfully labors to keep the action going non-stop.
One of the main audiences for the show will probably be everyone working in the theatre, who will recognize the references and situations in this dated comedy. But all audience will appreciate the humor and love portrayed by a very talented cast that seems to be thoroughly enjoying their roles.
George S. Kaufman and Edna Ferber were creatures of the theatre, and they stacked every aspect and element of it into this romp about a high-profile, beloved theatrical family in the 1920s.
Director Doug Hughes has turned up the speed and fury of this funny and witty excursion into an extended family's dedicated life in "the theatre", sometimes making it feel like a Marx Brothers farce. Aside from the delightful and totally nuanced performances of Rosemary Harris and Jan Maxwell, the large and excellent featured cast playfully labors to keep the action going non-stop.
One of the main audiences for the show will probably be everyone working in the theatre, who will recognize the references and situations in this dated comedy. But all audience will appreciate the humor and love portrayed by a very talented cast that seems to be thoroughly enjoying their roles.
HAMLET at the Broadhurst Theatre
(Seen 10/9/09)
I am pleased that I am not jaded by yet another production of HAMLET. Unlike many nay-say reviewers, I found this a most accessible Shakespearean presentation, both visually and verbally. And its unstoppable athletic movie star, Jude Law, gives an outstandingly viable life to the often melancholy Dane.
The whole cast, with the exception of Ophelia, make this HAMLET easy to listen to and understand, without sacrificing the verse. Director Michael Grandage created a cinematic flow for the intense action, and made the various comedy aspects stable counterpoints to the classic tragedy.
Somber and epic-like, it is a total audience pleasing experience, while maintaining its beauty and depth.
I am pleased that I am not jaded by yet another production of HAMLET. Unlike many nay-say reviewers, I found this a most accessible Shakespearean presentation, both visually and verbally. And its unstoppable athletic movie star, Jude Law, gives an outstandingly viable life to the often melancholy Dane.
The whole cast, with the exception of Ophelia, make this HAMLET easy to listen to and understand, without sacrificing the verse. Director Michael Grandage created a cinematic flow for the intense action, and made the various comedy aspects stable counterpoints to the classic tragedy.
Somber and epic-like, it is a total audience pleasing experience, while maintaining its beauty and depth.
WISHFUL DRINKING at Roundabout Theatre's Studio 54
(Seen 10/7/09)
Another Hollywood celebrity has come to Broadway, stripped emotionally naked and vulnerable, but always aware that she must entertain us while shocking us with her inner personal revelations.
Carrie Fisher has written, and stars in, a solo performance piece, which seems to act as a catharsis, after her many years of drowning herself in the dark side of the so-called Hollywood scene.
With the help of all kinds of visual aids, and director Tony Taccone, she reveals everything we never really wanted to know, and probably knew anyway, about her drug use, her famous parents, her breakdowns. She recounts her descent into a personal hell from which she has mostly pulled herself out.
It is a tour-de-force performance for her, and an enjoyable and illuminating evening in the theatre. She does not disappoint us.
Another Hollywood celebrity has come to Broadway, stripped emotionally naked and vulnerable, but always aware that she must entertain us while shocking us with her inner personal revelations.
Carrie Fisher has written, and stars in, a solo performance piece, which seems to act as a catharsis, after her many years of drowning herself in the dark side of the so-called Hollywood scene.
With the help of all kinds of visual aids, and director Tony Taccone, she reveals everything we never really wanted to know, and probably knew anyway, about her drug use, her famous parents, her breakdowns. She recounts her descent into a personal hell from which she has mostly pulled herself out.
It is a tour-de-force performance for her, and an enjoyable and illuminating evening in the theatre. She does not disappoint us.
A STEADY RAIN at the Schoenfeld Theatre
(Seen 10/1/09)
Film stars have not always fared well on Broadway. Their celebrity has brought fans to the theatre, but not necessarily any critical accolades. In fact, movie superstars have often been the targets of some reviewers.
Daniel Craig and Hugh Jackman are now delivering two of the finest performances on Broadway --- they have set a high standard for the season, which will be filled with film stars as this new season progresses.
They are in a new play by Keith Huff, directed by John Crowley, which leaves a lot be desired as for character, plot, and development. But it provides a very viable vehicle for the tremendous talents of its two-person cast. It allows them to inhabit a wide range of emotions and a meaningful physical life.
It is quite apparent that their superficial filmic adventures have not blunted the theatre acumen and stage presence of these two actors.
Film stars have not always fared well on Broadway. Their celebrity has brought fans to the theatre, but not necessarily any critical accolades. In fact, movie superstars have often been the targets of some reviewers.
Daniel Craig and Hugh Jackman are now delivering two of the finest performances on Broadway --- they have set a high standard for the season, which will be filled with film stars as this new season progresses.
They are in a new play by Keith Huff, directed by John Crowley, which leaves a lot be desired as for character, plot, and development. But it provides a very viable vehicle for the tremendous talents of its two-person cast. It allows them to inhabit a wide range of emotions and a meaningful physical life.
It is quite apparent that their superficial filmic adventures have not blunted the theatre acumen and stage presence of these two actors.
ESTROGENIUS FESTIVAL at Manhattan Theatre Source
(Seen 9/30/09)
Now celebrating its 10th season, the Festival presents a varied series of short plays, written, directed, and produced by women. The evening I attended consisted of four comedic pieces, and one serious vignette with great political and social depth.
The casts of all the plays were accomplished and well-suited to the material. The comedy presentation were mostly amusing skits, in sharp contrast to the single thoughtful little drama.
Full disclosure on my part is that I am acquainted with Elaine Romero and her work -- so my bias is that I am a harsher judge of her work than I might be if I did not know her abilities.
That said, her current offering, REVOLUTIONS, though brief in length, is a fully-realized play. with developed characters, plot turns, and meaningful social comment, As ably directed by Laura Tesman, and movingly acted by Fulvia Vergel and Andrew Eisenman, it comes across as an effective piece of theatre. At the same time, it reveals enough backstory so that it could become part of a longer work.
Now celebrating its 10th season, the Festival presents a varied series of short plays, written, directed, and produced by women. The evening I attended consisted of four comedic pieces, and one serious vignette with great political and social depth.
The casts of all the plays were accomplished and well-suited to the material. The comedy presentation were mostly amusing skits, in sharp contrast to the single thoughtful little drama.
Full disclosure on my part is that I am acquainted with Elaine Romero and her work -- so my bias is that I am a harsher judge of her work than I might be if I did not know her abilities.
That said, her current offering, REVOLUTIONS, though brief in length, is a fully-realized play. with developed characters, plot turns, and meaningful social comment, As ably directed by Laura Tesman, and movingly acted by Fulvia Vergel and Andrew Eisenman, it comes across as an effective piece of theatre. At the same time, it reveals enough backstory so that it could become part of a longer work.
BURN THE FLOOR at the Longacre Theatre
(Seen 8/5/09)
The first Broadway show of the new 2009-2010 season leaped onto stage this week in a frenzy of non-stop dancing. BURN THE FLOOR features a troupe of professional dancers from around the world, in an energetic display of all shades of ballroom dancing, with a decided latin beat. There is no book or theme that ties the show together, though sinuous, sexual overtones pervade every number --- a series of duets and ensembles, performed to a combination of live and taped music.
It is obviously a show designed for a specific audience, and easily succeeds in turning them on. At times, the whistling and cheering and clapping even overshadowed the frenetic activity on stage. The audience seemed populated by the huge number of fans for popular TV reality dance shows --- specifically, "So You Think You Can Dance" and "Dancing With The Stars".
Although Broadway seems like an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficionados and the tourist crowd.
The first Broadway show of the new 2009-2010 season leaped onto stage this week in a frenzy of non-stop dancing. BURN THE FLOOR features a troupe of professional dancers from around the world, in an energetic display of all shades of ballroom dancing, with a decided latin beat. There is no book or theme that ties the show together, though sinuous, sexual overtones pervade every number --- a series of duets and ensembles, performed to a combination of live and taped music.
It is obviously a show designed for a specific audience, and easily succeeds in turning them on. At times, the whistling and cheering and clapping even overshadowed the frenetic activity on stage. The audience seemed populated by the huge number of fans for popular TV reality dance shows --- specifically, "So You Think You Can Dance" and "Dancing With The Stars".
Although Broadway seems like an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficionados and the tourist crowd.
8/16/09
9 To 5: The Musical at the Marriott Marquis Theatre
(Seen 5/6/09)
Dolly Parton makes her Broadway debut as a composer with this stage musical version of the 1980 film. If you loved the movie, there's no reason why you shouldn't relish this incarnation, written by the original screenwriter, Patricia Resnick.
There is non-stop music and movement, with silly and unbelievable characters doing ridiculous things, in a truly formulaic story -- the under-dogs vanquishing the "man"!
Allison Janney, revealing a gifted musical side of her talent, leads a dedicated and professional cast of thirty, through varied shenanigans to further the cause of women's lib. The expected result is the triumphant squashing of one chauvinistic, woman-exploiting middle-management male.
The music is pleasant and tempo-ed, the acting is broad, and director Joe Mantello and choreographer Andy Blankenbuehler make sure that every possible group activity is danced through the scene changes -- so that no transition from scene to scene is seamless or cinematic, as might have been intended.
The film titled award winning song, "9 To 5", is still catchy and tuneful -- a song you might leave the theatre humming.
Dolly Parton makes her Broadway debut as a composer with this stage musical version of the 1980 film. If you loved the movie, there's no reason why you shouldn't relish this incarnation, written by the original screenwriter, Patricia Resnick.
There is non-stop music and movement, with silly and unbelievable characters doing ridiculous things, in a truly formulaic story -- the under-dogs vanquishing the "man"!
Allison Janney, revealing a gifted musical side of her talent, leads a dedicated and professional cast of thirty, through varied shenanigans to further the cause of women's lib. The expected result is the triumphant squashing of one chauvinistic, woman-exploiting middle-management male.
The music is pleasant and tempo-ed, the acting is broad, and director Joe Mantello and choreographer Andy Blankenbuehler make sure that every possible group activity is danced through the scene changes -- so that no transition from scene to scene is seamless or cinematic, as might have been intended.
The film titled award winning song, "9 To 5", is still catchy and tuneful -- a song you might leave the theatre humming.
8/13/09
ACCENT ON YOUTH at MTC's Friedman Theatre
(Seen 5/2/09)
Here is another example of misguided producers choosing to revive a lesser work of Samson Raphaelson as a would-be vehicle for an available star.
David Hyde Pierce, with a recent Tony in hand, is back on Broadway -- although he is much more appreciated on television, even in his re-runs.
Raphaelson's play comes across as dated and hokey, even being set in its original time frame. It is a lackluster, unbelievable drawing-room comedy whose time has passed it by.
Here is another example of misguided producers choosing to revive a lesser work of Samson Raphaelson as a would-be vehicle for an available star.
David Hyde Pierce, with a recent Tony in hand, is back on Broadway -- although he is much more appreciated on television, even in his re-runs.
Raphaelson's play comes across as dated and hokey, even being set in its original time frame. It is a lackluster, unbelievable drawing-room comedy whose time has passed it by.
WAITING FOR GODOT at Roundabout's Studio 54
(Seen 5/1/09)
Little seems to have changed in this revival of Samuel Beckett's absurdist classic play, which is a good thing for a play about nothing changing. The two obvious changes are the pronunciation of Godot, now "God, Oh", and the introduction of some huge rocks that make it resemble a setting for the Flintstones.
The single bare tree, the endless waiting for someone who will never appear, the psychological and societal discussions about the meaning of life and of reality -- people trapped in wordplay and re-play of their dreary daily existence -- it's all here. It affirms the sense of nothingness and emptiness and futility.
But director Anthony Page has enabled his actors to bring an underlying sense of life and struggle to these doomed characters. Bill Irwin, Nathan Lane, John Glover, and John Goodman all manage to capture the desperation and hopelessness and innate humor of their characters -- both physically and verbally -- which adds a new dimension to their pursuit.
Little seems to have changed in this revival of Samuel Beckett's absurdist classic play, which is a good thing for a play about nothing changing. The two obvious changes are the pronunciation of Godot, now "God, Oh", and the introduction of some huge rocks that make it resemble a setting for the Flintstones.
The single bare tree, the endless waiting for someone who will never appear, the psychological and societal discussions about the meaning of life and of reality -- people trapped in wordplay and re-play of their dreary daily existence -- it's all here. It affirms the sense of nothingness and emptiness and futility.
But director Anthony Page has enabled his actors to bring an underlying sense of life and struggle to these doomed characters. Bill Irwin, Nathan Lane, John Glover, and John Goodman all manage to capture the desperation and hopelessness and innate humor of their characters -- both physically and verbally -- which adds a new dimension to their pursuit.
THE PHILANTHROPIST at Roundabout's AA Theatre
(Seen 4/30/09)
Someone must have thought that Christopher Hampton's play would be an ideal vehicle for Matthew Broderick. Unfortunately, his performance has such a throwaway quality to it, everything is for naught.
This revival is peopled with unbelievable characters doing uncharacteristic things. Hampton's skewed portrait of British academia, instead of "examining the empty insular life of college intellectuals", as described by the press material, is itself empty and insular.
It becomes a boring study of what not-to-do on stage. It morphs into what it is trying to demean. David Grindley's erratic staging and pacing only adds to the sense of hopelessness and helplessness of all the characters.
Someone must have thought that Christopher Hampton's play would be an ideal vehicle for Matthew Broderick. Unfortunately, his performance has such a throwaway quality to it, everything is for naught.
This revival is peopled with unbelievable characters doing uncharacteristic things. Hampton's skewed portrait of British academia, instead of "examining the empty insular life of college intellectuals", as described by the press material, is itself empty and insular.
It becomes a boring study of what not-to-do on stage. It morphs into what it is trying to demean. David Grindley's erratic staging and pacing only adds to the sense of hopelessness and helplessness of all the characters.
MARY STUART at the Broadhurst Theatre
(Seen 4/22/09)
A stark presentation of Friedrich Schiller's MARY STUART, adapted by Peter Oswald, features expert performances by a distinguished cast, in this Donmar Warehouse import. Janet McTeer totally embodies the doomed Mary Stuart, and Harriet Walton is a worthy counterpart as Elizabeth.
The venerable Brian Murray's superb portrayal of the Earl of Shrewsbury particularly stands out in the excellent company of featured players.
Director Phyllida LLoyd has staged it fluidly and impressively, with dramatic and simple settings by Anthony Ward, and effective lighting by Hugh Vanstone. It is a worthy revival of a difficult play.
A stark presentation of Friedrich Schiller's MARY STUART, adapted by Peter Oswald, features expert performances by a distinguished cast, in this Donmar Warehouse import. Janet McTeer totally embodies the doomed Mary Stuart, and Harriet Walton is a worthy counterpart as Elizabeth.
The venerable Brian Murray's superb portrayal of the Earl of Shrewsbury particularly stands out in the excellent company of featured players.
Director Phyllida LLoyd has staged it fluidly and impressively, with dramatic and simple settings by Anthony Ward, and effective lighting by Hugh Vanstone. It is a worthy revival of a difficult play.
ROCK OF AGES at the Brooks Atkinson Theatre
(Seen 4/15/09)
If sheer audio volume is a measure of musical success, ROCK OF AGES wins all the awards. In a season somewhat aroar with rock musicals, the powers behind this production provide non-stop, deafening taped music pre-show and during intermission. They also have waitstaff roaming the aisles -- pre-show, all during the show, and at intermission -- taking and delivering drink and snack orders.
Audience attention to and concentration on what's happening on stage is somewhat diluted. Too bad that the music of Bon Jovi, Styx, Pat Benetar, and many others doesn't have an undisturbed visual focus to add to the audio.
Actually, there is a standard fairy-tale story accompanying the manic movement, and a generally personable and professional cast unfolds a thwarted love story set against the larger background of rock clubs, mall developers, and corrupt officials.
Although the show was somewhat painful for me, I must point out that the enthusiastic audience loved every moment of it.
If sheer audio volume is a measure of musical success, ROCK OF AGES wins all the awards. In a season somewhat aroar with rock musicals, the powers behind this production provide non-stop, deafening taped music pre-show and during intermission. They also have waitstaff roaming the aisles -- pre-show, all during the show, and at intermission -- taking and delivering drink and snack orders.
Audience attention to and concentration on what's happening on stage is somewhat diluted. Too bad that the music of Bon Jovi, Styx, Pat Benetar, and many others doesn't have an undisturbed visual focus to add to the audio.
Actually, there is a standard fairy-tale story accompanying the manic movement, and a generally personable and professional cast unfolds a thwarted love story set against the larger background of rock clubs, mall developers, and corrupt officials.
Although the show was somewhat painful for me, I must point out that the enthusiastic audience loved every moment of it.
WEST SIDE STORY at the Palace Theatre
(Seen 3/26/09)
This seems to be the season for reviving and deconstructing the major American musicals.
It's difficult to diminish the beauty and the power and the emotional impact of WEST SIDE STORY. With the exception of some lyrics and dialogue now spoken in Spanish, little has changed. Leonard Bernstein's music, Stephen Sondheim's lyrics, and Arthur Laurent's book still capture the tragic story of two disparate, innocent lovers, out-of-place in a world of dissention, suspicion and hate.
However, the sparks that ignited the original production and the subsequent film, have fizzled under Arthur Laurent's pedestrian and sometimes puzzling direction. And the chemistry that could bring some reality to the warring factions is missing here. The cast seems to be parodying the original tensions and movements, rather than inhabiting them.
In this almost by-the-numbers presentation, it becomes panoramic rather than involving, so the audience is watching rather than experiencing the emotion and the drama and the ultimate tragedy. Fortunately, the music and lyrics still soar.
This seems to be the season for reviving and deconstructing the major American musicals.
It's difficult to diminish the beauty and the power and the emotional impact of WEST SIDE STORY. With the exception of some lyrics and dialogue now spoken in Spanish, little has changed. Leonard Bernstein's music, Stephen Sondheim's lyrics, and Arthur Laurent's book still capture the tragic story of two disparate, innocent lovers, out-of-place in a world of dissention, suspicion and hate.
However, the sparks that ignited the original production and the subsequent film, have fizzled under Arthur Laurent's pedestrian and sometimes puzzling direction. And the chemistry that could bring some reality to the warring factions is missing here. The cast seems to be parodying the original tensions and movements, rather than inhabiting them.
In this almost by-the-numbers presentation, it becomes panoramic rather than involving, so the audience is watching rather than experiencing the emotion and the drama and the ultimate tragedy. Fortunately, the music and lyrics still soar.
GUYS AND DOLLS at the Nederlander Theatre
(Seen 3/4/09)
Director Des McAnuff and choreographer Sergio Trujillo have succeeded in destroying one of the great masterworks of the American musical theatre. It is difficult to fathom how this creative team for JERSEY BOYS, a brilliant showcase of their talent, could have struck out in so many elements of Frank Loesser's classic New York musical.
Their disastrous undertaking starts with a revised book that adds an intruding Damon Runyon as a running character/commentator. The most egregious problem is in the casting -- mainly an indifferent, vacuous, musically-deprived Oliver Platt as Nathan Detroit. And so much chemistry is missing from all the leading characters.
Both the haphazard direction and mediocre choreography add to the list of things gone wrong. Befitting the gambling vernacular, all in all, a disappointing and sometimes painful demonstration of how to turn a sure thing into an also-ran.
Director Des McAnuff and choreographer Sergio Trujillo have succeeded in destroying one of the great masterworks of the American musical theatre. It is difficult to fathom how this creative team for JERSEY BOYS, a brilliant showcase of their talent, could have struck out in so many elements of Frank Loesser's classic New York musical.
Their disastrous undertaking starts with a revised book that adds an intruding Damon Runyon as a running character/commentator. The most egregious problem is in the casting -- mainly an indifferent, vacuous, musically-deprived Oliver Platt as Nathan Detroit. And so much chemistry is missing from all the leading characters.
Both the haphazard direction and mediocre choreography add to the list of things gone wrong. Befitting the gambling vernacular, all in all, a disappointing and sometimes painful demonstration of how to turn a sure thing into an also-ran.
RUINED at MTC's Stage I
(Seen 2/19/09)
Playwright Lynn Nottage has written the best play of this season, and director Kate Whoriskey has befittingly given it a striking visual and emotional life.
A contemporary play, RUINED is set in the midst of the civil war in the Congo. It explores the lives of a group of characters passing through a brothel/bar run by a strong-willed woman who has endured all kinds of human struggles.
She is both ruthless and nurturing to the women she employs, and to her military and rebel and civilian patrons. Backstories for Nottage's main characters are expertly revealed as we follow their tortured existence and survival.
A totally involved ensemble cast creates fine dramatic and musical portrayals. The play brings a disturbing and realistic political situation to life on stage.
Playwright Lynn Nottage has written the best play of this season, and director Kate Whoriskey has befittingly given it a striking visual and emotional life.
A contemporary play, RUINED is set in the midst of the civil war in the Congo. It explores the lives of a group of characters passing through a brothel/bar run by a strong-willed woman who has endured all kinds of human struggles.
She is both ruthless and nurturing to the women she employs, and to her military and rebel and civilian patrons. Backstories for Nottage's main characters are expertly revealed as we follow their tortured existence and survival.
A totally involved ensemble cast creates fine dramatic and musical portrayals. The play brings a disturbing and realistic political situation to life on stage.
PAL JOEY at Roundabout's Studio 54
(Seen 1/7/09)
Rodgers and Hart's wonderful musical has been undermined by a lackluster and unpersonable performer in the title role. I did not get to see Christian Hoff as Joey before his accident during previews. Without the presence of a dynamite actor/dancer/singer in that role, director Joe Mantello has been unable to bring life to this classic American musical.
Surprisingly excellent musical performances by accomplished actresses Stockard Channing and Martha Plimpton are a decided asset, but not enough to make up for the lack of chemistry and personality and virtuosity demanded by the role of Joey.
Rodgers and Hart's wonderful musical has been undermined by a lackluster and unpersonable performer in the title role. I did not get to see Christian Hoff as Joey before his accident during previews. Without the presence of a dynamite actor/dancer/singer in that role, director Joe Mantello has been unable to bring life to this classic American musical.
Surprisingly excellent musical performances by accomplished actresses Stockard Channing and Martha Plimpton are a decided asset, but not enough to make up for the lack of chemistry and personality and virtuosity demanded by the role of Joey.
SHREK The Musical at the Broadway Theatre
(Seen 12/19/08)
While I always try to keep an open mind before seeing a show, sometimes I do have apprehensions about some of them. I had not seen the animated film that SHREK The Musical was based on, but I was aware of the storyline. So I had no expectations beforehand. I confess that I enjoyed the show, despite the silliness and slap-stick approach to the characters.
Brian d'Arcy James achieved the impossible -- he brought charm and emotion to a character hidden behind a hundred pounds of make-up and costume. And the book and lyrics by David Lindsay-Abaire have a certain amount of wit hidden beneath the words. While Sutton Foster creates an attitude which overcomes her stereotypical princess character, to do some of her best work to date.
Director Jason Moore deserves credit for some inventive work. All in all, it's entertaining.
While I always try to keep an open mind before seeing a show, sometimes I do have apprehensions about some of them. I had not seen the animated film that SHREK The Musical was based on, but I was aware of the storyline. So I had no expectations beforehand. I confess that I enjoyed the show, despite the silliness and slap-stick approach to the characters.
Brian d'Arcy James achieved the impossible -- he brought charm and emotion to a character hidden behind a hundred pounds of make-up and costume. And the book and lyrics by David Lindsay-Abaire have a certain amount of wit hidden beneath the words. While Sutton Foster creates an attitude which overcomes her stereotypical princess character, to do some of her best work to date.
Director Jason Moore deserves credit for some inventive work. All in all, it's entertaining.
MINDGAME at the Soho Playhouse
(Seen 11/23/08)
Even the high-powered film director Ken Russell, making his local debut as a stage director, is ill-equipped and unable to transform Anthony Horowitz's venture into mind games -- lower case "m" and "g" -- into a workable stage presentation.
MINDGAME seems to strive for the illusions/delusions/mind games that were so successfully achieved in SLEUTH. But Horowitz has stacked the deck with jokers, and Russell overplays every hand and every character. The result is a silly and sometimes embarassing pursuit for its actors. Keith Carradine, Lee Godart, and Kathleen McKenny deserve better.
Even the high-powered film director Ken Russell, making his local debut as a stage director, is ill-equipped and unable to transform Anthony Horowitz's venture into mind games -- lower case "m" and "g" -- into a workable stage presentation.
MINDGAME seems to strive for the illusions/delusions/mind games that were so successfully achieved in SLEUTH. But Horowitz has stacked the deck with jokers, and Russell overplays every hand and every character. The result is a silly and sometimes embarassing pursuit for its actors. Keith Carradine, Lee Godart, and Kathleen McKenny deserve better.
BILLY ELLIOT the MUSICAL at the Imperial Theatre
(Seen 11/19/08)
Lee Hall has written a multi-layered musical (book and lyrics) that successfully explores one family's struggles for personal achievement and survival, set against the greater picture of the British miners' futile strike in the 1980s.
Sometimes director Stephen Daldry's emphasis on grandiosity may overshadow the intimacy of the basic story of a young boy wanting something different for his life than that of a family tradition of mining. But he always pinpoints and highlights their individual struggles.
Hall has allowed us to get to know Billy Elliot's inner drives, as well of those of his older brother, his father, his grandmother, his dance teacher -- and even his dead mother.
Peter Darling's choreography is a grand mixture of dance and movement, always appropriate for the characters and the confrontational situations brought on by both personal interactions and community standards -- as well as political setbacks. And Elton John's music works smoothly, even if if may not inspire.
The entire cast -- a huge ensemble of children and adults -- is highly commendable. At the performance I saw, a phenomenal Kiril Kulish played Billy; he alternates with David Alvarez and Trent Kowalik. The show also stars Hadyn Gwynne, Gregory Jbara, Carole Shelley, and Santino Fontana, who along with all the company members, are excellent.
It's a jazzy, glossy, high-powered musical -- but most important, it works!
Lee Hall has written a multi-layered musical (book and lyrics) that successfully explores one family's struggles for personal achievement and survival, set against the greater picture of the British miners' futile strike in the 1980s.
Sometimes director Stephen Daldry's emphasis on grandiosity may overshadow the intimacy of the basic story of a young boy wanting something different for his life than that of a family tradition of mining. But he always pinpoints and highlights their individual struggles.
Hall has allowed us to get to know Billy Elliot's inner drives, as well of those of his older brother, his father, his grandmother, his dance teacher -- and even his dead mother.
Peter Darling's choreography is a grand mixture of dance and movement, always appropriate for the characters and the confrontational situations brought on by both personal interactions and community standards -- as well as political setbacks. And Elton John's music works smoothly, even if if may not inspire.
The entire cast -- a huge ensemble of children and adults -- is highly commendable. At the performance I saw, a phenomenal Kiril Kulish played Billy; he alternates with David Alvarez and Trent Kowalik. The show also stars Hadyn Gwynne, Gregory Jbara, Carole Shelley, and Santino Fontana, who along with all the company members, are excellent.
It's a jazzy, glossy, high-powered musical -- but most important, it works!
STREAMERS at Roundabout's Laura Pels Theatre
(Seen 11/13/08)
This revival of David Rabe's explosive drama is deftly directed by Scott Ellis, suitably within the confines of this intimate venue.
Despite the passage of time and circumstance, it remains topical. We are still able to experience the tensions of the new recruits and seasoned veterans in a boot camp as their lives intersect. With the backdrop of the Vietnam war, we see them dealing with racism, homophobia, and socio-economic issues, as they crystallize into a brutal and needless murder.
Ellis has elicited finely honed performances from a strong ensemble cast, in a play which, unfortunately for our society, is still relevant today.
This revival of David Rabe's explosive drama is deftly directed by Scott Ellis, suitably within the confines of this intimate venue.
Despite the passage of time and circumstance, it remains topical. We are still able to experience the tensions of the new recruits and seasoned veterans in a boot camp as their lives intersect. With the backdrop of the Vietnam war, we see them dealing with racism, homophobia, and socio-economic issues, as they crystallize into a brutal and needless murder.
Ellis has elicited finely honed performances from a strong ensemble cast, in a play which, unfortunately for our society, is still relevant today.
ROMANTIC POETRY at MTC's Stage I
(Seen 11/4/08)
John Patrick Shanley has had many moments of triumph in his long and successful career as a playwright, screenwriter, and director. So it is even more incomprehensible why his better judgment didn't tell him to leave this inconsequential and muddied theatre piece in some bottom drawer or forgotten storage trunk.
Instead, obviously indulged by Manhattan Theatre Club's creative team, he has collaborated with composer Henry Krieger, to direct his own musical (book and lyrics). It is a haphazard descent, with trivial and banal lyrics and dialogue, into a silly world that cannot be excused by labeling it "Romantic Poetry". I commiserate with an otherwise capable cast who are made to say and do such inadequacies.
I eagerly look for to Shanley's return to his former world of meaningful, provocative, and thoughtful drama.
John Patrick Shanley has had many moments of triumph in his long and successful career as a playwright, screenwriter, and director. So it is even more incomprehensible why his better judgment didn't tell him to leave this inconsequential and muddied theatre piece in some bottom drawer or forgotten storage trunk.
Instead, obviously indulged by Manhattan Theatre Club's creative team, he has collaborated with composer Henry Krieger, to direct his own musical (book and lyrics). It is a haphazard descent, with trivial and banal lyrics and dialogue, into a silly world that cannot be excused by labeling it "Romantic Poetry". I commiserate with an otherwise capable cast who are made to say and do such inadequacies.
I eagerly look for to Shanley's return to his former world of meaningful, provocative, and thoughtful drama.
TO BE OR NOT TO BE at MTC's Friedman Theatre
(Seen 10/19/08)
Nick Whitby's adaptation of this 1942 comedy film, set against a background of the Nazi scourge, is another forgettable exercise in bringing classic movies to a new incarnation on the Broadway stage.
Despite an otherwise capable and personable cast, director Casey Nicholaw is unable to overcome the script, and fails to elicit even passable performances from his cast. It becomes a disastrous display of how wrong a "black comedy" -- as the producers describe it -- can become a bleak tragedy.
Nick Whitby's adaptation of this 1942 comedy film, set against a background of the Nazi scourge, is another forgettable exercise in bringing classic movies to a new incarnation on the Broadway stage.
Despite an otherwise capable and personable cast, director Casey Nicholaw is unable to overcome the script, and fails to elicit even passable performances from his cast. It becomes a disastrous display of how wrong a "black comedy" -- as the producers describe it -- can become a bleak tragedy.
A MAN FOR ALL SEASONS at the Roundabout's AA Theatre
(Seen on 10/12/08)
Robert Bolt's informative historical drama smoothly reveals the backstory of Sir Thomas More, and his inevitable death over moral values, when he refuses to support Henry VIII's decision to abandon the Catholic Church. But this revival is noteworthy mainly because of the overpowering presence of Frank Langella.
Langella is an imposing force in his embodiment of Thomas More. He embues the character with all the human frailties and intellectual forces that struggle within the man. We see him as a husband, father, holy man, and politician in a performance worthy of another Tony Award.
Robert Bolt's informative historical drama smoothly reveals the backstory of Sir Thomas More, and his inevitable death over moral values, when he refuses to support Henry VIII's decision to abandon the Catholic Church. But this revival is noteworthy mainly because of the overpowering presence of Frank Langella.
Langella is an imposing force in his embodiment of Thomas More. He embues the character with all the human frailties and intellectual forces that struggle within the man. We see him as a husband, father, holy man, and politician in a performance worthy of another Tony Award.
8/9/09
BURN THE FLOOR at the Longacre Theatre
(Seen 8/5/09)
The first Broadway show of the new 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 an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficianados and the tourist crowd.
The first Broadway show of the new 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 an unlikely venue for this type of entertainment, it appears to fill a niche for the ballroom dancing aficianados and the tourist crowd.
11/2/08
“RESPECT FOR THE TEXT” by Peter Brook
With Peter Brook's production of THE GRAND INQUISITOR, based on Dostoyevsky's THE BROTHERS KARAMAZOV, now playing at the New York Theatre Workshop, I thought it would be interesting to reprint an old exclusive interview with him entitled “A Director's Respect For The Text”, which originally appeared in my magazine, New York THEATRE Review, September/1979 issue.
“I like strawberries. I'm sure you do. And sometimes I like strawberries even as they are. Sometimes I like mashing them with with my fork, mixing things. Sometimes I like what one always has at this time of year in France in every cafe –- which is strawberry tarts. Now all of those are expressions of strawberries, but the real reason for strawberries to exist, is because it has grown out of nature. And the real reason for you to put it in your mouth is because you need food.
“Now in exactly the same way, a text is not an end by itself. A text has come from somewhere. It has come from an author. And if the text is really good, it comes from the author trying to express something essential through the text. Now that author makes that attempt to express something essential, maybe in another period, in another context, than ours –- and we're here today, and we're longing to eat that food. We're like the people who want to eat the strawberries and we can eat it in different forms. We can eat it intact, or mashed, or served in a flan. Now which do we choose to do? I think the whole question here is a purely relative one.
“In the case of A MIDSUMMER NIGHT'S DREAM, I didn't change one single word. In the case of THE TEMPEST, we turned the whole play inside-out. It all depends on the aim and the context. Nothing else. To say that you can take a text and use it as a springboard – - the proof of that pudding is in the eating. If by taking and turning it inside-out, an essential truth that is buried in that text can suddenly appear -- this is the great thing about the theatre – that event is justified, because you have done no harm to the text, which still remains there within its covers, perfectly intact.
“If on the other hand, you say today, for you, for me, for our context today, 'This as it stands is so perfect that anything I do lessens it,' then I'm a fool to start mashing it and cooking it in tarts, much as, in a restaurant, you actually make your pies usually out of the remains from yesterday. But if you have an absolutely beautiful new piece of steak, you don't chop it up and make it into a pie. You cook it, grill it. You don't put a sauce on it. You eat it as it is.
“Now it's exactly that, if what one needs to respect is the truth behind the activity. Now A MIDSUMMER NIGHT'S DREAM, for instance, produces truths on many levels, and the form that the play takes is extraordinarily perfect. So I thought the only way to touch the truth was to respect the text to the last degree.
“And although I love Shakespeare and I love his text, I haven't a blind respect either for him or his text. Because the reason I love him is for the truth he is trying to bring through his text. So my love also has to go towards that truth, and that's why each theatre event is different and must be judged entirely by all the circumstances that surround it, so that it's an argument that works both ways.
“In one context, it is criminal to fuck around with the great text, because one does it at one's risk and peril. That's why I have very often, very strongly attacked productions that turn Shakespeare inside-out - - because I don't think when you're dealing with great material you should do this too easily. So that the idea of the text being a springboard, I think, is one of the most dangerous ideas that have ever been launched - - simply because it encourages people, before they have gone through the process of digging deeply into a text, to already change it.
“I remember my father telling me that he had a friend who arrived in England from Russia after the first World War. After two weeks of being in England, this Russian, with not one single word of English, began writing a book called 'The Faults of the English Language'. Now in exactly the same way, to take a great play, and before you have really come to the core of it, you are already correcting it's mistakes - - and that is what one sees in a lot of springboard reactions – - this is criminal.
“On the other hand, to take a great play and not take into account that as time goes by there are things that mean less, values changes, balances change, immediacy disappears - - and therefore, out of respect, to leave it exactly as it is, allowing an audience not to come into contact with the essential, that is also false.
“So each time you are confronting a new set of decisions. Why are we trying to touch this material today? What is the purpose of it? And is that purpose best served by blind obedience or bold intervention? Or through a blend of the two? Those are the questions.
“If you are dealing with a modern play, suppose you're dealing with a young author. He writes his first play and brings it to a director. The director is in exactly this position. For him to tell the young author, 'You've got it wrong. You should cut this, you should change this, you should rewrite this' - - which is what people love doing - - is a very dangerous process, because he may be wrong. The author may have something he is trying to say, and the director my completely spoil it.
“But on the other hand, a director who is convinced that the play falls apart in the second act and doesn't say so - - and doesn't say so vigorously and strongly - - is also betraying the author. So once again, the truth has to be an honest search for something that combines the two. And the director has to intervene, or he isn't a director. And yet, he has to take into account that he is not there to intervene - - like producers do, because they're frustrated authors! He has to intervene genuinely to help the essence to appear, and that's why intervention is a double-edged sword.
“You can see how often producers destroy work, because they take a play on the road, and what comes out is not their wish for the essence to appear, but their wish for their own ego to suddenly have a ball. They can then prove to the author that they are a better author than he, and they can prove to the director that they are really a better director than he is - - but nobody has yet recognized that. And one has to recognize that those are legitimate temptations and dangers, and steer in-between them.”
“I like strawberries. I'm sure you do. And sometimes I like strawberries even as they are. Sometimes I like mashing them with with my fork, mixing things. Sometimes I like what one always has at this time of year in France in every cafe –- which is strawberry tarts. Now all of those are expressions of strawberries, but the real reason for strawberries to exist, is because it has grown out of nature. And the real reason for you to put it in your mouth is because you need food.
“Now in exactly the same way, a text is not an end by itself. A text has come from somewhere. It has come from an author. And if the text is really good, it comes from the author trying to express something essential through the text. Now that author makes that attempt to express something essential, maybe in another period, in another context, than ours –- and we're here today, and we're longing to eat that food. We're like the people who want to eat the strawberries and we can eat it in different forms. We can eat it intact, or mashed, or served in a flan. Now which do we choose to do? I think the whole question here is a purely relative one.
“In the case of A MIDSUMMER NIGHT'S DREAM, I didn't change one single word. In the case of THE TEMPEST, we turned the whole play inside-out. It all depends on the aim and the context. Nothing else. To say that you can take a text and use it as a springboard – - the proof of that pudding is in the eating. If by taking and turning it inside-out, an essential truth that is buried in that text can suddenly appear -- this is the great thing about the theatre – that event is justified, because you have done no harm to the text, which still remains there within its covers, perfectly intact.
“If on the other hand, you say today, for you, for me, for our context today, 'This as it stands is so perfect that anything I do lessens it,' then I'm a fool to start mashing it and cooking it in tarts, much as, in a restaurant, you actually make your pies usually out of the remains from yesterday. But if you have an absolutely beautiful new piece of steak, you don't chop it up and make it into a pie. You cook it, grill it. You don't put a sauce on it. You eat it as it is.
“Now it's exactly that, if what one needs to respect is the truth behind the activity. Now A MIDSUMMER NIGHT'S DREAM, for instance, produces truths on many levels, and the form that the play takes is extraordinarily perfect. So I thought the only way to touch the truth was to respect the text to the last degree.
“And although I love Shakespeare and I love his text, I haven't a blind respect either for him or his text. Because the reason I love him is for the truth he is trying to bring through his text. So my love also has to go towards that truth, and that's why each theatre event is different and must be judged entirely by all the circumstances that surround it, so that it's an argument that works both ways.
“In one context, it is criminal to fuck around with the great text, because one does it at one's risk and peril. That's why I have very often, very strongly attacked productions that turn Shakespeare inside-out - - because I don't think when you're dealing with great material you should do this too easily. So that the idea of the text being a springboard, I think, is one of the most dangerous ideas that have ever been launched - - simply because it encourages people, before they have gone through the process of digging deeply into a text, to already change it.
“I remember my father telling me that he had a friend who arrived in England from Russia after the first World War. After two weeks of being in England, this Russian, with not one single word of English, began writing a book called 'The Faults of the English Language'. Now in exactly the same way, to take a great play, and before you have really come to the core of it, you are already correcting it's mistakes - - and that is what one sees in a lot of springboard reactions – - this is criminal.
“On the other hand, to take a great play and not take into account that as time goes by there are things that mean less, values changes, balances change, immediacy disappears - - and therefore, out of respect, to leave it exactly as it is, allowing an audience not to come into contact with the essential, that is also false.
“So each time you are confronting a new set of decisions. Why are we trying to touch this material today? What is the purpose of it? And is that purpose best served by blind obedience or bold intervention? Or through a blend of the two? Those are the questions.
“If you are dealing with a modern play, suppose you're dealing with a young author. He writes his first play and brings it to a director. The director is in exactly this position. For him to tell the young author, 'You've got it wrong. You should cut this, you should change this, you should rewrite this' - - which is what people love doing - - is a very dangerous process, because he may be wrong. The author may have something he is trying to say, and the director my completely spoil it.
“But on the other hand, a director who is convinced that the play falls apart in the second act and doesn't say so - - and doesn't say so vigorously and strongly - - is also betraying the author. So once again, the truth has to be an honest search for something that combines the two. And the director has to intervene, or he isn't a director. And yet, he has to take into account that he is not there to intervene - - like producers do, because they're frustrated authors! He has to intervene genuinely to help the essence to appear, and that's why intervention is a double-edged sword.
“You can see how often producers destroy work, because they take a play on the road, and what comes out is not their wish for the essence to appear, but their wish for their own ego to suddenly have a ball. They can then prove to the author that they are a better author than he, and they can prove to the director that they are really a better director than he is - - but nobody has yet recognized that. And one has to recognize that those are legitimate temptations and dangers, and steer in-between them.”
scenebyme--ijb
David Mamet Revivals on Broadway
Two David Mamet plays are being revived on Broadway this season: AMERICAN BUFFALO and SPEED THE PLOW. When AMERICAN BUFFALO premiered on Broadway some 31 years ago, I moderated a "Critics Roundtable" for my new magazine, New York THEATRE Review. I assembled two critics (John Simon and Henry Hewes) for a non-confrontational face-to-face discussion with the creators of the new production -- playwright David Mamet and producer Joe Beruh. The result was an intellectual-yet-down-to-earth verbal "battle". They talked about the play, playwriting. audiences, government, the American economy, big business -- and things said then seem so totally relevant today.
Here are some of David Mamet's salient excerpts from my Roundtable:
"In the period when I first began to write the play, I was doing a lot of reading, and I was reading a lot of Theodore Dreiser stuff, and I had just started reading Thorstein Veblen, too.And I was playing a lot of poker with people who were very much like the people in the play. And the question which constantly arose in my mind was, 'What in the world is going on here?' The fiction, whereby we the men in this country, in the aid of which we conduct our lives -- the fiction of loyalty, the fiction of business and the fiction of self-improvement, is patently dissolving. It no longer supports us, it no longer makes us feel good. And the moral fabric, that is to say our perception, of the government, of those institutions whereon we peg, or at least give lip service to,the church and so on, we care for less and less.
"Our ideals are quite obviously completely out of line with the way in which we conduct our lives. And the area in which it most fascinated me, was in the area of business -- which as Veblen says, the myth of American business is nothing other than the sheerest mask for predatory behavior..... masking fraud and masking theft and masking death. And the things that we're taught in school, to salute the flag, and to improve ourselves under the auspices and under the wings of huge corporations. The whole Horatio Alger myth in this country that we give ourselves, is nothing other than self-enslavement and fraud -- and that's this country."
And here are some of Mamet's thoughts about structure and action in a play:
"Aristotle comes along and says that as a proscriptive formula, we have to have unity of action in a play. And Stanislavski comes along at the beginning of the twentieth century and says perhaps this is not a proscriptive formula, perhaps it's a descriptive formula. And he describes the process of perception that one goes through when one views a play. That is to say, not as any god-given fiat must we have a unity of action in a play, but solely because the audience comes in, and the curtain goes up, they see a play for two or three hours, and they come away. We're going to internalize that experience as a totality, and because of that, because of the nature of perception, you'd better jolly well make sure we have a unity of action in a play.
"I think it's absolutely essential that every beat in a play puts forward the action, that every word in a play puts forward the action. And any word of a play which does not put forward the action, must be excised from the play. And that any point in a play where the action takes too great a leap or turns back upon itself, that point in the play must be corrected. I believe that, completely, strongly.
"Those points at which the attention of the audience will lag.... no matter how brilliant the dialogue, no matter how exciting the stage action is, those points which are not essential to the action of the play -- what happens next -- must be corrected."
Here are some of David Mamet's salient excerpts from my Roundtable:
"In the period when I first began to write the play, I was doing a lot of reading, and I was reading a lot of Theodore Dreiser stuff, and I had just started reading Thorstein Veblen, too.And I was playing a lot of poker with people who were very much like the people in the play. And the question which constantly arose in my mind was, 'What in the world is going on here?' The fiction, whereby we the men in this country, in the aid of which we conduct our lives -- the fiction of loyalty, the fiction of business and the fiction of self-improvement, is patently dissolving. It no longer supports us, it no longer makes us feel good. And the moral fabric, that is to say our perception, of the government, of those institutions whereon we peg, or at least give lip service to,the church and so on, we care for less and less.
"Our ideals are quite obviously completely out of line with the way in which we conduct our lives. And the area in which it most fascinated me, was in the area of business -- which as Veblen says, the myth of American business is nothing other than the sheerest mask for predatory behavior..... masking fraud and masking theft and masking death. And the things that we're taught in school, to salute the flag, and to improve ourselves under the auspices and under the wings of huge corporations. The whole Horatio Alger myth in this country that we give ourselves, is nothing other than self-enslavement and fraud -- and that's this country."
And here are some of Mamet's thoughts about structure and action in a play:
"Aristotle comes along and says that as a proscriptive formula, we have to have unity of action in a play. And Stanislavski comes along at the beginning of the twentieth century and says perhaps this is not a proscriptive formula, perhaps it's a descriptive formula. And he describes the process of perception that one goes through when one views a play. That is to say, not as any god-given fiat must we have a unity of action in a play, but solely because the audience comes in, and the curtain goes up, they see a play for two or three hours, and they come away. We're going to internalize that experience as a totality, and because of that, because of the nature of perception, you'd better jolly well make sure we have a unity of action in a play.
"I think it's absolutely essential that every beat in a play puts forward the action, that every word in a play puts forward the action. And any word of a play which does not put forward the action, must be excised from the play. And that any point in a play where the action takes too great a leap or turns back upon itself, that point in the play must be corrected. I believe that, completely, strongly.
"Those points at which the attention of the audience will lag.... no matter how brilliant the dialogue, no matter how exciting the stage action is, those points which are not essential to the action of the play -- what happens next -- must be corrected."
scenebyme--ijb
8/5/08
Who to praise -- or to blame?
We usually can credit/discredit a playwright for the dialogue / story / relationships that we see on a stage. But when it comes to interpretation of the dialogue and storyline, the interactions and characterizations, it's not always clear who is to be praised or blamed -- the actor, the director, the choreographer -- or, in some cases, even the playwright!
But, after all, determining who "did" "what" in a particular production, is of course one role of the reviewer/critic. And no matter how knowledgeable or erudite, how perceptive or discerning, it sometimes becomes a guessing game.
Recently, I saw two very disparate off-Broadway shows: one was a new, contemporary musical; the other, a revival of an off-beat play. What they had in common, was that they both left me with the distinct feeling that the performances outshone the material. Each was based on very personal and intimate relationships within their familial settings. Each was told from the point-of-view of the playwright/protagonist. Each had their creator performing their onstage personas -- although the playwright of the revival had played his onstage stand-in for the premiere several decades earlier.
One is a rock-rap, hip-hop, contemporary musical drama expressing the very personal and professional journey of its two characters. The other, a multi-populated, dysfunctional family saga, narrated by the playwright's alter-ego, satirically unfolding his journey to becoming who he became.
In both these well-done theatrical presentations, the performances of both casts were outstanding, despite the shortcomings of the material. Some theatre professionals might argue that it was the material that made these performances possible -- and that unanswerable argument is an ever-present dilemma in the theatre.
scenebyme--ijb
Recycling the Musical Theatre
It has been an illuminating year for old-fashioned musicals masquerading in contemporary hip-hop clothing. This is particularly the case with "Passing Strange" and "In The Heights".
These musicals are about coming-of-age, and discovering that after all the searching is over, you are led back to where you started. Wrapped in rap, hip-hop, and rock musical trappings, these shows are both similarly about the nature of the journey -- leaving in order to find your place in the world --- which is back home!
While they are both described as innovative, even in their disguised structure, they linearly take us through a beginning, a middle, and an end. They "work" as theatre because they are traditionally entertaining --- which, after all, is a major goal of the commercial (Broadway) theatre experience.
So going forward by going backward can be a good thing, and recycling -- in the best sense of the word -- can bring us successful new musical styles. Let's not be afraid to take the best of the past as a guide for future -- even if skeptics like me sometimes call it "old-fashioned".
scenebyme -- ijb
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