Summer 2008 Recap

Ok, ok.

I was a little busy over the summer and only posted about myself. (Isn't a certain level of narcissism required to be an actor/blogger?)

Anyway...

It was not as if I didn't see anything. There were several, but I didn't find any to be particularly outstanding.

Marriage of Bette and Boo (Roundabout at the Laura Pels) June 14, 2008
Christopher Durang's version of Albee, but funnier. Nice turns by Julie Hagerty and Victoria Clark and Zoe Lister-Jones.

Some Americans Abroad (Second Stage Theatre) July 5, 2008
American academia can act stereotypically British - who knew?

Damn Yankees (Encores!) July 13, 2008
I love me some Cheyenne Jackson. I really need to get back and see Xanadu with him in the cast. Sean Hayes can play the piano, too!

[title of show] (Lyceum Theatre) July 19, 2008
The little show that could - now has! The set looked a bit too "set-like," but otherwise they've stayed true to their vision.

Impressing the Czar - Royal Ballet of Flanders (Rose Theatre - Lincoln Center Festival) July 19, 2008
I've never been a big fan of contemporary ballet, and this piece did tend to drag after the first act, but it's a splendid production and marvelously visual. Go Jessica Teague!

South Pacific (Lincoln Center Theater at the Vivian Beaumont) August 2, 2008
I stood in line for cancellations and boy, was it worth it!! Kelli O'Hara continues to refine and shade her performance. Matthew Morrison was in excellent voice and Paulo Szot is still as hot as ever!

Cirque Dreams Jungle Fantasy (Broadway Theatre) August 5, 2008
Definitely geared for an audience of children, it's homogenized Cirque for pre-teen and tweens.

Spring Awakening (Eugene O'Neill Theatre) August 8, 2008
My fourth time seeing the show. Several understudies performing, but the piece is holding up very nicely.

The Lisbon Traviata (The Center) August 11, 2008
Gay comedy turns into operatic tragedy in the last scene, though the tone is more Lucia than Violetta.

A Tale of Two Cities (Al Hirschfeld Theatre) August 25, 2008
Where to start on this train wreck? I could borrow from Mr. Alessandrini "I know I've seen this show before." Or, "At the end of the play you're another year older." The show is 20 years in the making which might date its inspiration (not to mention writing and musical styling) to another little piece based on a large 19th Century novel which features a French revolution.

The Tempest (Classic Stage Company) September 4, 2008
Prospero as Shylock via Mandy Patinkin (when he wasn't repeating pages of dialog after being distracted by cell phones). Stark Sands adds beefcake to his talent as a lovely Ferdinand. Elizabeth Waterston, willowy and equally lovely as Miranda. Costumes were only flattering on the pretty people. Production was otherwise kinda flat.

Not a stellar summer, but heaven knows it could have been worse!

The Most Loving Mother of All Time

"The New Century" presented by Lincoln Center Theatre at the Mitzi Newhouse Theatre, April 9, 2008

Paul Rudnick's latest outing is a collection of four one-acts. He opens with the first of the four one-acts in the evening in "Pride and Joy," expanding on a character that originated in his earlier play "Jeffrey," Mrs. Marcangelo. Now named Helene Nadler and played without apology by Linda Lavin, she is the self-proclaimed "...most tolerant and accepting mother...EVER!!" Ms. Lavin, whose hair has been bleached platinum to the point of blisters in her part and dolled up in Long Island designer drag, is speaking to a parental support group - the PLGTBCCC&O - PFLAG on steroids, it would seem. She recounts how each of her three children came out to her - Leslie the lesbian ("Leslie, what was I thinking?"); Ronnie, the lesbian transgendered Veronica ("For what we spent on hormones, I could have had a new kitchen."); and David, who is gay and into leather as well as a number of initialed interests beyond BDSM ("In this house we use a toilet, not a friend from Tribeca.") She expands a bit on each. Leslie and her partner, who announced their commitment in the paper with a photo ("...Dennis the Menace marries Opie...") are having a baby. Wanting the child to be the ultimate symbol of diversity, they've combined donors of Ethiopian, Vietnamese and Hispanic origin ("Why not just have them add it to the menus they slip under the door?").

"Pride and Joy" is the most successful act of the evening, sold purely on the skill and delivery of Ms. Lavin. She professes her love like a fencer with an epee in a masterful performance.

In "Mr. Charles, Currently of Palm Beach," Peter Bartlett gets stuck with 20+ minutes of stereotype as Mr. Charles in the form of a bare bones public access TV show called "Too Gay" which airs at 3am, once a week. It borders on offensive, but only when it strays from pointless. He does get a clever 60-second history of gay theatre, punctuated by the mention of gratuitous male frontal nudity, both verbally and literally (Shane, played by Mike Doyle, who makes a full tour of the stage perimeter in the altogether.

Jayne Houdyshell greets us next as Barbara Ellen Diggs in "Crafty." Her Mrs. Diggs seems to have suffered from agoraphobia before discovering crafting. Now she's found her purpose in life and travels the country to glamorous spots like the conference room in a municipal building in Decatur, Illinois. She's there to deliver a talk on the importance of crafts in our community. Oh, and her son Hank died of AIDS. She made a square for the AIDS quilt. ("It looks like a cemetery by the Ladies Home Journal.) She came to NYC for the first time after Hank's death during The Gates exhibition in Central Park by Jeanne Claude and Christo. ("...like a county fair at a graduate school...[my friend] Susan said I'd found closure. I said 'Susan, Oprah is just a person.'") This was the first time I had seen Ms. Houdyshell perform. I was anxious to see her following the recognition she'd received in "Well" on Broadway (2006 Tony nomination) and last season's "The Receptionist" at Manhattan Theatre Club. I wish she'd had better material.

Finally all four characters come crashing back together, inexplicably, in the the maternity ward in New York where Leslie has just given birth. The most loving mother is now the most loving grandmother. Mr. Charles and Shane have snuck into town...I can't remember why. And, for some reason, Mr. Charles has chosen to take some time to turn the children in the ward gay through the viewing window. Mrs. Diggs has fallen down in the street and hurt her leg outside Madison Square Garden where she's competing in a cat clothing contest.

Director Nicholas Martin seems to have done best by standing out of the way to let Ms. Lavin and Ms. Houdyshell do what they do best. He's made a valiant effort with Mr. Charles, but I'm not sure if anyone could have done any better, although I think the dance number finale was particularly anti-climatic.

Allen Moyer's sets are functional, as is Kenneth Posner's lighting. William Ivey Long's costumes are typically spot-on from Helene's high-end schmatta to Mr. Charles' upholstery-coordinated ensembles to Mrs. Diggs' polyester ("[worn] without irony.").

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.

A Life of Bits and Scraps

"The Glorious Ones" at the Mitzi Newhouse Theatre at Lincoln Center, November 10, 2007

From the talented Stephen Flaherty and Lynn Ahrens is a new musical that chronicles the career of Flaminio Scala based on the book of the same name by Francine Prose. Italian commedia dell'arte tradition is where the story centers.

As Flaminio, Marc Kudisch is in strong voice, mixing a bit of the Pirate King to his swaggering leader of the motley crew. He does have a touching moment in the 11 o'clock number, "I Was Here." There is an occasional lapse into overly nasal tones, but it's under better control here compared to other performances of his. As Columbina, his lover and leading lady, Natalie Venetia Belcon makes a giant leap away from her role of Gary Coleman in Avenue Q as the former prostitute-turned-actor. With heaving décolletage, she is most uncomfortable when her role requires her to be less sexual. This made for an interesting contrast during her song about her relationship with Scala, "My Body Wasn't Why."

As the newly created harlequin, Jeremy Webb's Francesco services satisfactorily (nice job juggling on his entrance). Erin Davie as his love Isabella has made a nice transition from the slightly manic Little Edie to the ingenue who wants to write plays.

I had a bit of trouble deciding about Julyana Soelistyo's Armanda Ragusa, the dwarf. Sometimes the gender of this role was a bit unclear, between the writing and the costume, although Ms. Soelistyo's gender was apparent. Her portrayal did fall a bit short of the kind of idol-worship Armanda professed.

David Patrick Kelly as Pantalone, and John Kassir as Dottore both acquitted themselves well in their respective roles.

Dan Ostling's multilevel wooden stage evokes the period nicely and is complemented by Stephen Strawbridge's lighting. Mara Blumenfield costumes have captured the period very nicely as well, though some of the silks looked a bit rich for such a ragtag troupe.

Director/choreographer Graciela Daniele, along with Ms. Ahrens and Mr. Flaherty have improved from their last outing at Lincoln Center, "Dessa Rose," but one can see they long for another epic success like "Ragtime." (Say what you will - it's one of my favorite scores in contemporary musical theatre.) Here, they seem to struggle between telling the tale of Flaminio's troupe or writing a commedia dell'arte piece. This becomes particularly apparent at the end as they wrap up the story exactly as they ended "Ragtime" with each character explaining his/her own final story. There are some excellent moments here, too. Most notable was "Armanda's Sack" the penultimate number in which Armanda and the troupe retrace their journey with memories sparked by bits and scraps of fabric from the multitudes of costumes they wore along the way. This song particularly reminded me of a very close friend, who could easily trace much of his own life in the same way.

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.

Into the Words, Part One

"The Coast of Utopia: Voyage" at the Vivian Beaumont Theatre at Lincoln Center, April 6, 2007

At last I got to Part I of Mr. Stoppard's trilogy running at Lincoln Center. After seeing Part II, "Shipwreck" first, I thought I had missed a good bit of the plot underway. Turns out, not so much.

This Chekovian tribute by Mr. Stoppard is an epic endeavor, attempting to span the philosophical awakening of Tsarist Russia from the perspective of the newly dubbed intelligentsia: students, radicals and philosophers seeking to find a place of equal footing among the more enlightened cultures of the West.

This installment focuses on the lives of the Bakunin family, controller of some 700 "souls" (meaning Russian serfs) on the family estate, Premukhino, 150 miles north of Moscow. You can check out the production website for more information on the plot and period.

Coast of Utopia

Hard at work here is Ethan Hawke, shouting, blustering and spitting his way through both acts as the indulged and spoiled only son, Michael Bakunin. After following tradition for as long as he could stand, he's left the military in search of a new philosophy (he almost sounds like Sallie Brown at times), finding a new one to follow as the wind changes, but none of them which allow his to remain a spoiled and indulged child like he wants. Needless to say, his search continues.

The always-impressive Richard Easton is Michael's doddering, yet still occasionally imperious father, Alexander. With four daughters and a son, he's well past his prime but not yet willing/no longer able to maintain family control. Amy Irving as his wife, Varvara, has a wonderful time flitting in and out, worrying over everyone and unable to impact anyone.

The daughters, Liubov (is it me, or is it really strange for a feminine Russian name to end without a vowel? Shouldn't it have been Liubova?) played by Jennifer Ehle is the Beth of these little women - beloved by her family and eager to find love, but dies before any of her engagements can be completed. Varenka (another always-impressive Martha Plimpton) is the Jo, but not quite strong-willed enough to make the right choice, only to recognize when she's made the wrong choice and then bemoan it. Tatiana (Kelley Overbey) is Meg, the pretty one, and Alexandra (Annie Purcell) is Amy, the youngest. It struck me as a little odd, however, that all four sisters seemed to be in love with their brother, all fawning over his every word and deed. Varenka is the only one to express the negative impact that has on her life.

Billy Crudup, as Vissarion Belinsky brings an earnest and awkward passion to his role. Belinsky, like Michael, is also in search of a new philosophy, but is a bit more pragmatic about it. He understands that one must manage some way to eat, in order to make the search.

Brian O'Byrne makes his first appearance in the series as Alexander Herzen, but doesn't have significant action yet, merely laying the foundation for his work in Part II, Shipwreck.

Director Jack O'Brien has shown himself a master in keeping all of this moving and engaging, despite Mr. Stoppard's challenging plot and character list.

As before, the physical production is quite elegant, from the torn scrims and projections to some really fabulous torchieres and a terrific chandelier that looks like an ice version of St. Basil's and the Kremlin in Moscow.

On reflection, as much as I enjoyed the performances in this play, I did feel a bit lost by the pace of the plot and the turnover of characters. Having now seen 2/3 of the trilogy, it feels like this work is more about literature than entertainment. I haven't decided how much effort I'll make to see part III.

(Starwatch: Neil Simon was in attendance)

Side Effects May Include...

"Dying City" at the Mitzi Newhouse Theatre, Lincoln Center, March 6, 2007

Craig died in Iraq. Gay twin brother, Peter, has just dropped in on Kelly, the widow. Angst, pain, miscommunication (or lack thereof) ensues and precedes the rest of the evening.

Christopher Shinn has created an interesting premise for his play about learning how to move on after devastating moments in our lives. Interesting dramatically in his construction to have the same actor play twins with action and exposition in flashbacks.

Pablo Schreiber (I hadn't realized that he is Liev's brother until now) takes on the dual roles. He's buffed up quite a bit, which works for both roles. His Craig, the soldier, is quite believable as an over-protective bear of a man with a quick temper. His Peter, however, falls more into the category of stereotype. Even though Peter is gay, he's become a successful actor both on stage and in film. It seemed a little much to me for Peter to be such a sissy. I think the writing may have pushed Mr. Schrieber to his choices. Peter is continually apologizing, for showing up unannounced, for wanting to maintain a relationship with Kelly, for wanting to talk about Craig, for everything it seems.

As Kelly, Rebecca Brooksher comes across as Calista Flockhart with a Jennifer Grey nose-job - blandly pretty but with a voice that is so familiar. I had heard (or read) someone else make a similar observation, but it didn't really strike me until she was speaking with her back to me. Ms. Brooksher pouts and cries, but never quite matches Mr. Schrieber's intensity.

Anthony Ward's rotating set makes a nice-sized 1BR with minimal furnishings. Pat Collins' lighting does well to help establish whether the scene is present or previous without being intrusive.

How to Mess Up Your Own Gilbert and Sullivan Operetta

"The Pirates of Penzance" presented by the New York City Opera at the New York State Theatre, Lincoln Center

Of all the G and S productions, I always thought this one was as close to bullet-proof as any of them. NYC Opera has cast a number of well-established stage performers to round out some of the "lighter" presentations in their season. In this production are the very talented Marc Kudisch (Apple Tree, Chitty Chitty Bang Bang, Assassins, Thoroughly Modern Millie) and Mark Jacoby (Sweeney Todd, Ragtime, Man of La Mancha), but even their depth of skill can't raise this floundering mess.

Mr. Kudisch, singing the Pirate King, appears left to his own devices which works on when the action is between him and one or two other characters. Once the chorus sweeps in, he's lost in the crowd. Fortunately, his was one of the better voices in this performance. Mr. Jacoby, as Major General Stanley, also does well with the snippets of dialogue, but struggles a bit in his songs. To his defense, however, I think it's the responsibility of Conductor Gerald Steichen for so many weak and shaky musical moments.

I'm now a little more sympathetic to NYCO's complaints of poor acoustics in the NY State Theatre. Even with amplification, the orchestra, sitting in an open pit, sounded like they were playing in a room next door. Inconsistent miking helped none of the singers, either.

As Mabel, Sarah Jane McMahon is about the only one who manages to rise above the squalor. She allows Mabel to float through her music, resulting in a lovely and delicate performance.

As Ruth, Myrna Paris doesn't fare so well. She seems to be playing her own version of opera buffa, with only occasional appearances from correct pitch and tempi.

Matt Morgan's Frederic, callow, but not quite innocent also suffers from lack of directorial guidance. In his first meeting with Mabel, this shy and demure lad is suddenly a leering ape, all hands and sidelong glances.

Kevin Burdette, making his NYC Opera debut in the role of the Police Sergeant, does seem to fare rather well, borrowing heavily from Tony Azito's camped-up performance from Joseph Papp's 1981 production - all rubber legs and faces.

Director Lillian Groag appears to have spent much too much time staging a lot of fussy business with costumed stagehands moving about superfluous props and set pieces, and not enough time providing a vision and flow for her singers. Her bio is impressive. I can only wonder where she was for this show.

I had been really excited about NYCO's announcement of "Ragtime" for next season. Having seen what they did with "Pirates..." I'm not so excited anymore.

Did You Hear the One About....?

"The Clean House" at the Mitzi Newhouse Theatre, Lincoln Center, January 23, 2007

Lane (Blair Brown) is a doctor. She likes things neat, tidy and organized. Matilde (Vanessa Aspillaga) is her Brazilian maid, depressed over her mother's death a year before. Virginia (Jill Clayburgh) is Lane's home-maker sister with too little to do. Charles (John Dossett) is Lane's surgeon husband who's just left her for an older woman, Ana (Concetta Tomei) on whom he recently performed a mastectomy. (Spoiler Alert)

Opening with Matilde (dressed in all black) standing on a white set, telling a joke in Portuguese, the show tries to get to shades of grey but never quite did for me. Ms. Aspillaga looks like a human version of comfort food - buxom and zaftig (is that redundant?). She longs for the kind of love her parents had - based on affection and most of all, humor. But she's torn by it - - her mother died laughing from a new joke her father told her. Her father immediately commited suicide from he guilt. As a result, she has no interest in cleaning. Still, Matilde seeks to make up the funniest joke, ever.

Along comes Ms. Clayburgh, also depressed but who finds purpose in cleaning up after others. Her own husband doesn't need her anymore and with no children, there's little to be cleaned at home that hasn't been scrubbed beyond recognition already. So she adopts Matilde and gladly begins doing her job for her. Ms. Clayburgh's Virginia is a little manic, and eager to mother someone - anyone. I wonder if her character's name is symbolically tied to her lack of children?

As Lane, Ms. Brown is in her typical fine form, brusque and busy in an effort to avoid the messiness of life. Her efforts are unsuccessful, both literally and figuratively. By the end of the show, she's pushed/plowed into her estranged husband's life, taking care of his new love when her cancer comes back. (He's gone off to find a rare artic tree, whose bark is supposed to contain a curative chemical compound - and yes, he drags the whole tree into Lane's no-longer clean, white house.)

Mr. Dossett and Ms. Tomei play both the husband and lover, respectively, as well as Matilde's parents in flashbacks. Mr. Dossett, always in solid form, seems a little lost at times. Not sure if that's because of Sarah Ruhl's writing or Bill Rauch's direction here. His role does seem a bit of an apology lost among the high estrogen levels of cast and script. Ms. Tomei comes off stronger, with a nice display of accent for her South American roles.

There is the trashing of the "clean house" as Lane's pristine world falls apart. I thought the symbolism of the whole apple-picking sequence was particularly heavy-handed from Eve's original sin (Charles and Ana's affair) the "apple a day keeps the doctor away" (Ana's illness), followed by the littering of the stage with said apples.

Christopher Acebo's set and James F. Ingalls' lighting work nicely for most of the action - the artic trek is a bit of a stretch, but with the apron stage of the Newhouse, there are going to be limitations. There are also projections of supertitles for the Portuguese dialogue, but these aren't effective for some of the audience - again because of the auditorium's design.

Nevertheless, there were plenty of laughs and a few nice moments of catharsis.

(Starwatch: Jane Alexander in the audience - she seemed to have a lovely time.)

Into the Words

"Shipwreck" Part 2 of "Coast of Utopia" at the Vivian Beaumont Theatre at Lincoln Center, December 30, 2006

I probably should have waited until I'd seen Part 1 of this massive endeavor by Tom Stoppard, but I came across a very good and affordable ticket and couldn't turn it down. (Spoiler alert)

This play picks up the story of Alexander Herzen (Brian O'Byrne), his family and friends in Russia and Paris. I won't attempt a plot summary. LCT has been thoughtful enough to do that for the audience as an insert to the playbill, including a reading list for those so inclined. The plot is as epic, intricate and heavily charactered as anything by Tolstoy. Check out the website for the show here:

Coast of Utopia

Individually, performances were solid with a few standouts. This is to be expected with a cast that includes Mr. O'Byrne, Billy Crudup, Jennifer Ehle, Martha Plimpton, Ethan Hawke, Amy Irving and Richard Easton. Mr. O'Byrne and Ms. Ehle (as Natalie Herzen) do most of the heavy lifting in the show, carrying the time from 1846 in Russia to 1852 heading for London and back to 1846 Russia with stops along the way in Paris, Germany, and Nice.

Mr. O'Byrne brings his usual intensity to Alexander, struggling with the idealism of bringing Russia into the modern world while trying to balance it with raising his family and maintain those relationships. He did seem to have some minor line difficulty at a couple of points, but the sheer volume of words he's tasked with learning deserves commendation in and of itself. To then be able to perform both plays currently running (not to mention the third which begins a the end of January) is a feat of true talent. He sums himself up, "...half Russian, half German, in the end I'm Polish at heart...".

Ms. Ehle's Natalie is also struggling (seems to be a running theme for most Russian theatre characters). Her younger son Kolya (August Gladstone) was born deaf.

David Harbour is George Herwegh, a German poet who meets the Herzen's in Paris, moans and wails as he thinks a 19th century poet should. I found this weakness disguised in the emotions of an artist makes him a rather unlikeable character, yet Mr. Stoppard has written that two women are in love with him at the same time. Given his use of "tits" and "ass" in another scene, I was left unsure how to deal with such anachronisms.

Mr. Crudup's Belinsky, suffering from consumption, is fragile and weak. Weakness becomes another running fatal flaw for characters in this play.

But ultimately, all this weakness seems to be each character's excuse for passion and inaction. They write plays and pamphlets and books, but each looks to the other to actually start the revolution they all agree is due and forthcoming. Michael Bakunin (Mr. Hawke) does join a real revolution, albeit a small one in Saxony, and finds himself returned to Russia in shackles.

Everyone spends a lot of time talking, but the real action is going on around them.

Mr. Stoppard also points up some political parallels to the world today. When discussing that nine million newly enfranchised French voters returned a monarchist in Napoleon, Herzen observes, "In a free vote, the French public renounced freedom." The response (from Bakunin, I believe) "More poor people have the vote today than rich people who have the vote. How did it turn out that nothing would change?" Napoleon staged a coup within three years, naming himself emperor.

Bodies litter the stage by the end of the play, figuratively at least as Herzen heads for London.

Jack O'Brien has directed this massive cast with a fine eye and hand. He moves what little story there is along well. I liked the use of parallel tableaux opening Acts I and II, even though events to follow were very different. We also get a glimpse of Kolya's silent life as the adults around him fade to pantomime.

Supported by a terrific design team, sets by Bob Crowley and Scott Pask, costumes by Catherine Zuber and lighting by Kenneth Posner. I've always been impressed by the quality of sets in the Beaumont Theatre. It's one of the few major houses with thrust stage, once fashionable, but not anymore. Messrs. Crowley and Pask have done some excellent work, from Herzen's first appearance floating in a chair above a billowing silk sea that drains into a trap door, to the torn and tattered edge of the scrim, communicating the age of a society, the wear of a revolution and evoking a distant countryside treeline, to the Place de la Concorde in Paris with some clever perspective work on a shallow stage.

I think this is one I'll have to see again, but only after I've seen Part 1 first.