Two Unrelated Plays by David Mamet

"Two Unrelated Plays by David Mamet" at the Atlantic Theater Company, September 26, 2009

It seems as though Mr. Mamet has taken up the economy of writing that Ethan Coen has exhibited at the Atlantic Theatre Company over the last couple of seasons (Offices, Almost An Evening) and presented a similar character study, along with a more fully written one-act play.

In the character study/sketch, "School," Mr. Mamet begins with something of a riff on the old Abbott and Costello "Who's On First" as two school administrators (ostensibly) argue the merits of a grade-level wide project to create hundreds of posters extolling the theme of "Recycle Paper and Save the World." The following stream of concious (or more simply non-sequiturs) run the topic from recycling to the destruction of matter to the destruction of Dresden to the nature of history to the registration of child molesters and then bouncing back through, resulting in conspiracy theory suspecting the Custodial Union of political plotting. We never learn anything about these characters named only A (John Pankow) and B (Rod McLachlan), though the actors do manage to sustain the patter for the full 10 minutes of the piece.

In the second presentation "Keep Your Pantheon," Strabo (Brian Murray), the actor/manager of a Roman troupe, struggles to keep the act booked while lusting after his young protege Philius (Michael Cassidy). Pelargon (John Pankow), the other troupe member hangs out attempting to be a seldom successful voice of reason. Havoc ensues as they search for ways to get the troupe hired, ending up in the wrong house and insulting the General who enlists them to die at Caesar's command following the legion's recent military loss. Toss in a drunken hobo and a lucky (or unlucky) talisman and you end up almost as confused as I was. Beside the convoluted plot, the dialogue is pretty funny, reminiscent of the anachronistic humor of "A Funny Thing Happened on the Way to the Forum." Mr. Murray's Shakespearean Strabo, replete with an old man's beer gut carries most of the show. Mr. Cassidy's Philius is a Roman twinkie in the truest sense, barely able to speak but a physical beauty. Jordan Lage gives an understated take on Lupus Albus (white wolf) the insulted General reminding me a bit of Patrick Warburton (Elaine's boyfriend Puddy on Seinfeld).

Takeshi Kata's sets are serviceable if a bit spartan, generally complemented by Christopher Akerlind's lighting. Director Neil Pepe uses a heavy hand for the almost vaudevillian proceedings, heavy on the sight gags, stand-up one-liners and double-takes.

What's That Smell: The Music of Jacob Sterling

"What's That Smell: The Music of Jacob Sterling" at New World Stages, November 14, 20008

After a limited run at Atlantic Theatre's Stage 2, David Pittu's take on an off-Broadway composers has transferred to New World Stages for an open-ended run.

Mr. Pittu has managed to capture the painful essence of Jacob Sterling, an off-Broadway wannabe-but-doesn't-really-have-the-talent theatre composer who is still trying to make it to the bright lights of the Great White Way.

Set as an episode of a small-time cable show, "Composers and Lyricists Of the Theatre," (CLOT) is hosted by Leonard (Peter Bartlett effectively recreating his last role in Paul Rudnick's "The New Century" at Lincoln Center), who finds the inane and convoluted material to be one of America's undiscovered treasures.

Jacob Sterling studied at the San Palo Academy for the Study of Music (SPASM), and has been a featured artist at the Cedar Rapids Association for Musical Performance (CRAMP). The puns run rampant and the musical jokes are spot on.

A highlight of Jacob's college career was his musical stage adaptation of the film "Private Benjamin" as a vehicle for Loni Anderson. (Seems the two had a falling out when she learned he'd never inquired about getting the rights to adapt it from Goldie Hawn. He says fondly, "I can still remember my last conversation with Loni when she found out, Burt shouting in the background.")

Then there is his first New York song cycle, inspired by his mother's first visit to NYC. Everywhere they went, she kept asking, "What's that smell?" Inspiration indeed for such lyrics as "Is it cole slaw? Is it cheese? Is it just old meat?"

Directed by Mr. Pittu and Neil Pepe, the pace is fast and the jokes are rapid-fire. The result is hilarious.

Go see it!

Three Studies

"Almost an Evening" at Theatres at 45 Bleecker Street, March 28, 2008

After a sold-out run at the Atlantic Theatre Company earlier this year, Ethan Coen's first foray into theatre has transferred for a commercial off-Broadway run.

Billed as three one-acts, Mr. Coen really seems to have staged three writing exercises as he dips his toe into writing for the stage. Given his success in film, it's not at all surprising that he is looking for a new challenge.

The first act, "Waiting" seems a bit of a riff on Pinter, where Nelson (Joey Slotnick) finds himself in a waiting room with no door and a receptionist who can speak for only the first ten minutes, but will continue typing non-stop. She does reveal that Nelson is dead and is now waiting to get into heaven. He concludes he's in purgatory. The absurdity is revealed that he must wait 822 years before he can move on. With a bureacracy only an American could understand, Nelson's wait extends from 822, to 8,022, to 28,022 years, only to find out in the end that he's already in hell and won't be getting out after visiting Mr. Shebatacheck (Jordan Lage), Mr. McMartin (Mark Linn-Baker) and Polhemus (Del Pentecost) at various points in his wait.

Oh, the reason for ending up in hell? Cursing.

The second tale is "Four Benches" with a cloak and dagger murder of Earl (Mr. Pentecost), an innocent by-stander in a dark steamroom where One (Tim Hopper), presumably a British spy was waiting to meet Mr. Potts (Bench #1). One agrees to meet Earl's father, Mr. Boodrum (J. R. Horne), feeling guilty about the death of his son (Bench #2 - "Earl was a colossus!"). One then meets with Control (F. Murray Abraham) in an attempt to leave the service (Bench #3). He successfully leaves the service and ends up back in a steam room with a Texan (Mr. Lage), yet as he attempts to tell his tale of guilt over Earl's death, it sounds more like he's broken up with a lover. I'll guess that Mr. Coen's inspiration here was Ira Levin based on the mix of mystery and a bit of black humor.

The last scene is "Debate," a debate between God Who Judges (Mr. Abraham) and God Who Loves (Mr. Linn-Baker). With heavy Mametian language (just about everyone says the "f" word, particularly Mr. Abraham), the value of a loving God is weighed against the value of a fearsome God. In a white linen robe and a flowing grey wig, Mr. Abraham is an Old Testament God, via George Carlin. The best lines of the evening are here. GWJ: "It's the Ten Commandments, not the ten f-ing suggestions." "Pierced ears? I didn't like it, but I didn't say anything. I didn't think I had to!" Mr. Linn-Baker's GWL, dressed in a Pee Wee Herman suit and bow tie, complete with pennies in his loafers, is finally pushed to his limit and shoots GWJ. It oddly turns into a play-within-a-play when Mr. Abraham goes to dinner with his Lady Friend (Johanna Day) and is spotted by a Young Man (Mr. Lage) and Young Woman (Mary McCann) who have been debating the performance and it's gender appeal, or lack thereof.

Each act is comic in its own way, with a similar dark flavor as that of Mr. Coen's movies. I found the third offering the most successful even though it strayed bizarrely in the later moments. Director Neil Pepe has done as much as he can with these sketches and certainly enhances the dark comedy with his greatly talented cast. There is no weak link to be found among them.

Ricardo Hernandez' slick set adapts well for the various scenes and is nicely enhanced by Donald Holder's lighting. Ilona Symogi's wardrobe is suitably inconspicuous.

Mr. Coen, welcome to the theatre - I hope you've enjoyed your first foray. I look forward to a a complete evening with your next effort.