Catching Up the Backlog

It's been a busy spring.  Here's a collection of summaries on what I've seen of late.

"The House of Blue Leaves" at the Walter Kerr Theatre, April 11, 2011

This revival was a big hit in its 1986 production at Lincoln Center Theatre with John Mahoney, Swoosie Kurtz and Stockard Channing.  I wish I'd seen it.  Instead we get Ben Stiller, who was also in the 1986 production, with Edie Falco and Jennifer Jason Leigh.  Ms. Leigh is the only one close to being appropriately cast.  Director David Cromer seems to have strayed from what made his last two successful productions work (Our Town and Brighton Beach Memoirs) - focus on the text.  One has to wonder how much pressure there was for commercial success after the unfortunate end of the latter.  Mr. Stiller flails but never nails the desperation of Artie, making the ending twist all the more flabbergasting for the wrong reasons.  This limited run ends July 23, 2011.

"The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures" at the Public Theater, April 13, 2011

Tony Kushner returns to New York with a new play on an operatic scale (and length).  Taking on themes of communism, socialism, labor unions, sexuality and betrayal, this production is its latest incarnation after a premiere at the Guthrie.  Powerful and sweeping, one can see the work that has taken place, and the work still to be done.  Where it lacks the extravagant theatricality of Angels in America, it makes up in character development.  Stephen Spinella's Pil, gives us a glimpse of what Louis Ironson might have grown up to be.   Director Michael Greif, who also directed the Signature's revival of Angels... handles the mammoth work with finesse.  It's not Mr. Kushner's greatest work to date, but will rank among the better ones.  This limited run ends June 12, 2011

"Picked" at the Vineyard Theatre, April 15, 2011

Christopher Shinn brings us a tale of "be careful what you wish for" with this story of an actor who finally gets his big break to work with a world-class director (think James Cameron) on a new concept of film-making in which the process is reversed, writing the script after casting the actors.  It's an interesting concept and relatively well-written.  Coming off a starring role in "Cloverfield" Michael Stahl-David handles the scenes of insecurity experienced by most actors well.  He fails to deliver on the more emotional moments where the honesty his character purports to demonstrate don't come through.  Picked runs through May 22, 2011.

"Jerusalem" at The Music Box, April 16, 2011

Mark Rylance returns to Broadway in this story of a down-and-almost-out man fighting to keep the land he claims as a birthright from development.  He supports himself by selling drugs to the wayward youth in the area, drawing them in like the Pied Piper.  The subplot of a missing girl gets a bit lost in the shuffle from time to time, but Mr. Rylance is at his usual stellar performance level playing his own kind of St. George saving the maiden from the dragon.  This limited run ends July 24, 2011.

"The Importance of Being Earnest" presented by Roundabout Theatre Company at the American Airlines Theatre, April 21, 2011

Brian Bedford directs and makes Lady Bracknell the ultimate travesty role in this delightful revival of the Oscar Wilde classic.  Even the likes of Jane Houdyshell as Miss Prism can't steal the spotlight from Mr. Bedford.  This limited run ends July 3, 2011.

"The People in the Picture" presented by Roundabout Theatre Company at Studio 54, April 24, 2011

Once again, the Roundabout varies from their core mission of producing revivals to attempt a new production.  Even talented star power like Donna Murphy and Chip Zien can't help turn this overearnest effort into a hit.  Crossing elements of To Be or Not To Be with Sophie's Choice it finds neither the laughs nor heartache of either.  This limited run ends on June 19, 2011.


"The Normal Heart" at the Golden Theatre, April 25, 2011

What was first received as Larry Kramer's ranting polemic about the origins of the AIDS crisis and the failure of both the US and New York City governments to act in the best interests of homosexual men to stem the plague, it reveals itself as remarkably relevant today.  It also reveals itself as a particularly  good play, well-constructed and very powerful.  This all-star production in its first bow on Broadway features an excellent cast including director wunderkind Joe Mantello in the leading role of Ned Weeks, Kramer's thinly-veiled self-portrait.  Directors Joel Grey and George C. Wolfe channel the pain and anger into power.  David Rockwell's stark black and white set cleverly reveals the seemingly endless headlines and quotes from the period as the situation deteriorates, with stark projections of the increasing number of victims' names eventually covering the walls of the theatre itself.

Not to be missed, this limited run ends July 10, 2011.


"War Horse" presented by Lincoln Center Theater at the Vivian Beaumont, April 26, 2011

Based on a novel for young adults (think Coram Boy), this story of a young man's relationship with his horse during World War I is beautifully staged following its transfer from London.  The use of puppetry figuratively and literally anthropomorphizes the horse Joey, 1/2 thoroughbred, 1/2 workhorse as he struggles to survive the horror of war.  Eight million horses died during WWI - only 62,000 of them were brought back to England.  Even though the script is often predictable, the staging is breathtaking and the emotions are strong.

It's a brilliant production - not to be missed.  War Horse is on an open-ended run.

A Truly Enchanted Evening

"South Pacific" at the Vivian Beaumont Theatre at Lincoln Center, March 22, 2008

I'm always distressed when I hear people dismiss the works of Rodgers and Hammerstein. Sadly, the general thought is of fluff, sappy-sweet and "family friendly" musicals with little else to say.

It's just not true.

Buoyed by the extended run of "The Light in the Piazza" two seasons ago, Lincoln Center Theatre landed the rights to produce the first official Broadway revival of "South Pacific" since its original run of 1949-1953. Reuniting much of the creative team from TLITP also added to the successful bid to the Rodgers and Hammerstein Organization, including Bartlet Sher (director), Michael Yeargin (sets), Catherine Zuber (costumes) and Ted Sperling (musical director).

The result is truly enchanting.

I will admit a true fondness for this show, having appeared in a local production in September of 2001. The events of that month certainly impacted my feelings about the issues and topics explored. (BTW, I played Luther Billis - one of the great roles of the musical theatre.)

This production is a restoration in a sense. The musical orchestrations by Robert Russell Bennett for the 30-piece pit orchestra are from the original 1949 production at the Majestic Theatre using all existing material, including manuscripts, the full orchestral scores and the individual instrumental parts played at the time. The effect of a such a large orchestra is unmatchable, highlighted by a retracting stage floor which reveals the orchestra at the beginnings of both acts.

Based on James Michener's Tales of the South Pacific, it follows the lives of US service men and women and the natives on the islands they occupy during WWII.

As Nellie Forbush, Kelli O'Hara brings a refreshing, open vulnerability and reality to the role instead of the spunky yet a bit naive interpretation to which one is often accustomed. Her joy at admitting her love for her "wonderful guy" is contagious and her distress when she learns about Emile's children is palpable. She is in terrific voice, particularly in her emotional shading during her reprise of "Some Enchanted Evening" when she finally realizes that her love for Emile is more important to her than anything else she's known.

Her Emile, winningly portrayed by Brazilian tenor, Paulo Szot also avoids the usual grey-headed aging Frenchman. Being a gentleman of a certain age myself, it's nice to see a 44 year old character portrayed as a trim and attractive man with a full head of still-dark hair and only a hint of grey at the temples. Though his tempos are at times a bit indulgent (particularly "This Nearly Was Mine"), his Emile is always deliberate and sure. He certainly justifies Captain Brackett's statement about younger women appreciating the maturity of an older man.

There's excellent chemistry between these two, which is key to making this show work. R&H were famous for creating mismatched pairs, separated by age and circumstance, but allowing love to overrule. Ms. O'Hara and Mr. Szot accomplish this beautifully.

The young lovers Lt. Cable and Liat are Andrew Samonsky (at this performance) and Li Jun Li, respectively. Mr. Samonsky makes a great effort, but his very young and sweet tenor voice doesn't quite have the power to evoke the passion burning inside his handsome Cable. Ms. Li, in
basically a silent role, captures the innocence (though I've always been troubled by Bloody Mary's pimping her out to him so soon after he arrives on the island).

As Bloody Mary, Loretta Ables Sayre in her NY debut brings the requisite deadpan pragmatism of the Tonkinese capitalist, taking full advantage of the economic opportunities afforded by the US military presence.

As her easiest mark is Danny Burstein in my the role of Luther Billis. Mr. Burstein's interpretation reminds me significantly of Bert Lahr and I begrudgingly happily applaud his efforts. (My "Honey Bun" belly-roll was better, though.)

I do have one question about song placement. "My Girl Back Home" seemed a misfit so early in Act I since it's prior to Cable meeting Liat and Nellie learning about Emile's children. From what I remember of the movie version, it came later after these plot points had been revealed.

Director Bartlett Sher gives us a superior cast and a thoughtfully detailed evening without falling into sentiment. He's made some potentially difficult choices in his handling of the racism issues that run through the show. First, he's segregated the black mechanics from the white seabees (BTW, seabees = CBs = Construction Brigade) and the two groups never mingle when they're on stage at the same time. This is first pointedly demonstrated when Nellie and Cable are talking about their families back home and how they disapprove of people who are different. The effect is quite powerful. It happens again in Act II after the Thanksgiving show when Nellie rejects Emile, telling him, "It's something that's born in you" then runs off. Aided by Christopher Gatelli's musical staging, the result is never too slick and balances the fine line of reality and theatricality.

Michael Yeargin's sets, complemented by Donald Holder's lights make it very warm for a NYC March, beautifully evoking the island location. Pay attention to the scrim during "Bali Hai" - it's kinda magical. Catherine Zuber's costumes are typically spot-on.

It's only scheduled to run into June. I hope that's not the case. I'd like to see this enchanted evening stay around for the nice long run it deserves - - I want to see it again.

Shakespeare in his "conceptual" phase

"Cymbeline" at the Vivian Beaumont Theatre at Lincoln Center, November 6, 2007

One of Shakespeare's last four plays, Cymbeline seems to be one where he's pulling some old tricks out of his hat, hoping to mix up something new. What we get is a convoluted opera-style plot of scheming queens (real queens, that is), magic sleeping potions, gender-bending, war, not-so-dead children, beheadings and a final scene with some of the most convenient wrap-ups not seen since the final "very special Blossom" all lined up with an actual reference to history.

If you really need a plot summary, go here.

As King Cymbeline, John Cullum is still struggling on occasion with lines, but manages to bluster his way through this poor man's Lear. Phylicia Rashad, his Queen, slithers about the stage, plotting the downfall of his daughter Imogen, (Martha Plimpton) and the advancement of her son Lord Cloten (Adam Dannheisser).

Ms. Plimpton is up to her usual outstanding performance in this role that requires her to call on characteristics of both Juliet and Olivia. As her maligned, deprived yet noble secret husband, Michael Cerveris spits about as much as any actor in a Shakespeare play since Kevin Kline. His Posthumus Leonatus is a bit sniveling, but does rise to the occasion in the plot contrivances of the final act.

Jonathan Cake carries the remaining weight of this production on his beautifully muscled shoulders as the Iago-like Iachimo, plotting to wrong Posthumus during his banishment in Italy by seducing his wife Imogen. Mr. Dannheisser delights as the thick-headed Cloten.

David Furr and Gregory Wooddell, as the Jethro and Lil' Abner missing princes are physically impressive (really physically impressive), but pretty much otherwise unintelligible. Also less successful is the talented John Pankow in the thankless role of Pisanio.

Direct Mark Lamos seems to have spent more time choreographing the traffic of his large cast than bringing meaningful performances from most of the roles.

Michael Yeargan's clever sets evoke a bit of an Elizabethan setting, nicely complimented by Brain MacDevitt's clever lighting. It's Jess Goldstein's sumptuous costumes that really make the visual impact of this production.