The (Curious Case of the) Watson Intelligence

The (Curious Case of the) Watson Intelligence, at Playwrights Horizons, November 16, 2013

Madeleine George's gimmicky new play, a riff on sidekicks named Watson and their roles in history (real and fictionalized), is Playwrights Horizons' latest commission to reach their main stage.

The concept has merit, four Watsons all played by the same actor (John Ellison Conlee) flanked by three Mr. and Mrs. Merricks (David Costabile and Amanda Quaid), covering Sherlock Holmes' doctor friend, Alexander Graham Bell's assistant Thomas Watson, a computer repairman dweeb Josh Watson, and a fictional computer successor to IBM's 2011 Watson (a contestant on television's Jeopardy!). 

Ms. George spent a great deal of time trying to add intricacy in blending the story lines, but in the second act, things begin to unravel. After carefully allowing for proper costume changes, the transitions no longer allow the visual to match the script.  She also falls prey to a gratuitous nude scene at the top of Act 2 and an absurd and superfluous overuse of the word "preternatural."

This three-hander bounces about from sub-plot to sub-plot in increasingly frenetic jumps.  Initially, each scene is introduced with a shadowy variation on the line "Mr. Watson - come here - I want you," the delivered inflection of which intends to foreshadow the nature of the following interaction. After all the stumbling around, Bell's infamous quote becomes an odd moral of the play about one person's commitment to another, be they spouse, co-worker, whatever in a rambling speech from Ms. Quaid's contemporary Mrs. Merrick.  (Yeah, I was confused, too.) 

Director Leigh Silverman has assembled a talented cast to take on this effort.  Mr. Conlee's brings his four Watsons as much delineation as he can, though it is the artificial Watson's pleasant dead-pan that rang the truest.  Ms. Quaid fares a bit better in the writing of her Mrs. Merrick variations, the most contemporary being a brilliant computer engineer who conceived, built and programmed the artificial-intelligence Watson with the purpose of gathering input from users to help in medical diagnoses. Oddly, given a play's "free-pass" in the suspension of disbelief, Ms. George decides not to name the new computer Watson.  (Why not Dr. Watson, or Watson MD??)  Mr. Costabile gets the juiciest speeches from a political diatribe at the beginning when his account Merrick is running for local Auditor, to a Holmesian villain inventing weapons of death. Overall, the performances are consistent, but the flaws in the book hold back both the cast and director. 

Louisa Thompson's set is serviceable and sufficiently lit by Mark Barton. Anita Yavich does her best with costumes, but the script interferes with successful changes more than once.

The...Watson Intelligence runs through December 29.  See my previous post for discount ticket information.

Playwrights Horizons Discount - The (Curious Case of the) Watson Intelligence

"The (Curious Case of the) Watson Intelligence" at Playwrights Horizons

DISCOUNT TICKETS TO THE (CURIOUS CASE OF THE) WATSON INTELLIGENCE for YOUR READERS:

Regular run:  Nov 15-Dec 29
Tues-Wed at 7, Thu-Fri at 8, Sat at 2:30 & 8, Sun at 2:30 & 7:30

Order by Dec. 2 with the code WATBLOG and tickets are $45 (reg. $70) for all performances Nov 15-Dec 29

Online  www.ticketcentral.com/playwrightshorizons/online/

Call Ticket Central at (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street between 9th & 10th Avenues

PH Mainstage Theater, 416 West 42nd Street between 9th & 10th Avenues

The Patron Saint of Sea Monsters

"The Patron Saint of Sea Monsters" at Playwrights Horizons, October 26, 2013

PH continues to develop new work for the stage, with this new play running in their Peter Jay Sharp Theater by Marlane Meyer.  Develop is an accurate description in this case because, in addition to being a preview performance during which new changes were being performed for the first time, the play still needs a lot of work.

The premise is interesting: how people are perceived and how relationships can bring change to those involved either because of, or in spite of those perceptions.  (That's my take, at any rate, since it took well into Act 2 for that theme to emerge.)

Until then, however, main characters Aubrey (Laura Heisler) and Calvin (Rob Campbell) bounce around a very clunky and unfocused first act, surrounded by a chorus of  two-dimensional, comic-book stereotypes, from white trash to murderous (Candy Buckley, Danny Wolohan, Jacqueline Wright, Haynes Thigpen).  Ms. Meyer seems to be reaching for grand allegories as Aubrey, a disabled doctor with an unhealthy faith in an obscure saint, falls in love with Calvin, the former high school jock who peaked sophomore year and now can't hold a job because of his drinking and drug habits.   Flaws in the supporting characters abound, from a sociopath brother, to a less-than-visionary medium.  Ms. Buckley makes the most of her various roles, delivering a spot-on Lois Smith impression as Aubrey's conservative landlady.  She's also a delicious, white trash Cruella DeVille as Calvin's mother in leopard leggings.

Director Lisa Peterson struggles with connecting the comic-book aspects to the more heartfelt moments and the pacing suffers as a result.  Rachel Hauck's set adds much and flexes well to accommodate the myriad scene locations.

PH offers discount tickets to The Patron Saint of Sea Monsters for my readers (both of you):

Regular run:  Oct 18-Dec 1
Tues 7, Wed-Fri at 8, Sat at 2:30 & 8, Sun at 2:30 & 7:30

Order by Nov. 5 and use the code SAINTBLOG
$40 (reg. $60) for all performances Oct. 18-Dec. 1

Online  https://www.ticketcentral.com/playwrightshorizons/online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=D0D7E210-A98C-4C65-A44B-2355AAD20268

Call Ticket Central at (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street between 9th & 10th Avenues

Playwrights Horizons discount - "The Patron Saint of Sea Monsters"

"The Patron Saint of Sea Monsters" at Playwrights Horizons

Discount tickets to The Patron Saint of Sea Monsters for my readers (both of you):

Regular run:  Oct 18-Dec 1
Tues 7, Wed-Fri at 8, Sat at 2:30 & 8, Sun at 2:30 & 7:30

Order by Nov. 5 and use the code SAINTBLOG
$40 (reg. $60) for all performances Oct. 18-Dec. 1

Online  https://www.ticketcentral.com/playwrightshorizons/online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=D0D7E210-A98C-4C65-A44B-2355AAD20268

Call Ticket Central at (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street between 9th & 10th Avenues

Playwrights Horizons want you to like them

Playwrights Horizons campaign

Playwrights Horizons is one of the country’s most important incubators of new plays and musicals. Won’t you “LIKE” them on Facebook by June 30, and help them earn a donation of $10,000 when they reach 10,000 likes? While there, you can enter to win a $250 gift certificate from The Apple Store. LIKE now: http://www.facebook.com/PlaywrightsHorizons .

Gina Gionfriddo's RAPTURE, BLISTER, BURN has been extended through July 1 on the Mainstage.  Tickets and more info at www.playwrightshorizons.org.

Rapture, Blister, Burn

"Rapture, Blister, Burn" at Playwrights Horizons, May 26, 2012

Pulitzer prize nominee Gina Gionfriddo returns Off-Broadway with a sharp look at feminism, presented in a semi-scholarly love triangle.  Catherine (Amy Brennerman) has returned to take care of her mother (Beth Dixon) after a heart attack, also in the same town where her college ex-boyfriend Don (Lee Tergesen) now serves as a dean at a local liberal arts college and is married to Catherine's college roommate Gwen (Kelley Overbey). 

In college, Catherine chose a life of academia and has published several high profile books on popular culture and the role of women.  Gwen never finished her degree, taking the path of wife and mother, instead.  Don, once with great scholarly potential and a desire to teach, has fallen into the path of inertia, working only as hard as he needs to, to make ends meet.  His position as dean pays better than teaching, yet requires less mental engagement to get the job done. 

Catherine's arrival at home finds her at loose ends, thinking that her mother's heart attack signals her end sooner than later.  With no other life partner, she's looking for something to hold onto.  Don offers her a job teaching at the college.  Her first class is a seminar studying concepts put forth by Betty Friedan and Phyllis Schlafly, among others.

It's an interesting exploration as Catherine reconsiders her own life through the lens of Friedan and Schlafly, with color commentary from her mother.  Ms. Gionfriddo walks a fine line between story and women's studies. Director Peter DuBois maintains this compelling tale with a lot of laughs even though most of the plot points are well-telegraphed early on.  Even when you see it coming, the major plot twist still works.

Ms. Brennerman's Catherine stumbles and flounders through her reconciliation of deciding where her life will go next.  The term "honest" keeps coming to mind as I think about her performance.  Ms. Overbey's Gwen has mastered the art of passive aggressive, wielding her successful abstention from alcohol like a weapon.  Mr. Tergesen's Don is not quite so well-drawn, filling in more as a foil for the women around him.  Virginia Kull (recently seen in Assistance at PH), fills up her role as Avery , Don and Gwen's "Generation Now" babysitter, who finds much of the Friedan/Schlafly arguments inane in the 21st century with the self-righteous assurance of a 21 year old.

Alexander Dodge fits a lot of scenery onto the modest PH stage, borrowing a bit of shingled siding from Allen Moyer's set from Grey Gardens.

See this one while you can.

Rapture, Blister, Burn runs through June 24.  See my earlier post for discount ticket information.

Playwrights Horizons Discount offer

DISCOUNT TICKETS TO RAPTURE, BLISTER, BURN for BLOG READERS:

Regular run:
May 18-June 24, Tues 7, Wed-Fri at 8, Sat at 2:30 & 8pm, Sun at 2:30 & 7:30pm
Additional Monday evening performance June 11 at 7pm.


Order by June 5 and use the code RBBLOG [note two B’s]
$40 (reg. $70) for all performances May 18-27
$50 (reg. $70) for all other performances May 29-June 24

Online:
https://www.ticketcentral.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=10613999-17A1-44C0-9B55-02D6C3534E5E&sessionlanguage=

Call Ticket Central at (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street between 9th & 10th Avenues

Assistance

"Assistance" at Playwrights Horizons, February 9, 2012

Traveling familiar ground, the latest offering at the very consistent Playwrights Horizons is Leslye Headland's Assistance, about the struggling underclass of capitalist serfs, suffering at the hands of an unseen tyrant.  In this case the invisible antagonist is Daniel Weisinger, a highly volatile agent/representative (Barry Diller-like, perhaps?) in an unnamed industry, who wields fear, loathing and admiration from a series of put-upon administrative assistants.  At the top of the play, Vince, a slick and smarmy Lucas Near-Verbrugghe, celebrates the last day of his sentence before stepping up into a coveted "director" role (also undefined).  Following him up the corporate ladder is Nick, a likable Michael Esper, who takes on the part of chief torturer among the cadre of assistants.  Advancement comes at a high price.  Even Vince has to knuckle under to Daniel vagaries in his last moments as servant.

The "new meat" in the office is Nora, a sympathetic Virginia Kull, transferring over from the Siberia that is the "Canal Street office."  Like many before and after her, she's set her sights on duplicating, if not exceeding, the heights of fame and fortune achieved by her idolized boss.  It's a quick trip to disillusionment and jaded cynicism for her, as she takes her own lumps, as well as those belonging to others.  Beleaguered Justin, a very strong Bobby Steggert, spends most of the evening on the other end of the telephone, but shows up in Act II, after a typical "Daniel rant" lands him with a broken foot.

Heather (Sue Jean Kim) and Jenny, a very funny Amy Rosoff, round out the later victims, each getting a chance to take focus during funny, if distracting, monologues.  The relationship ups and downs between and among them aren't really surprising ("Nick & Nora" really?), as they try to maintain sanity while working for a lunatic.

Like I said, the terrain is quite familiar after "The Devil Wears Prada."  But this time, we don't get the benefit of seeing the villain in action.  The result is an extended sit-com, and could have easily filled a 30-minute slot with the same effect.

Director Trip Cullman moves things quickly, enhancing the sit-comish feel to the super-slick dialogue.  Jenny's final monologue does offer some interesting and unexpected quirks, but it's a long time coming.  David Korins' set succinctly and cleverly captures the essence of a hip, NYC office space.

Assistance runs through March 7.  See discount information in a previous post, along with a link to purchase tickets.

Discount Ticket Offer - "Assistance"

DISCOUNT TICKETS TO ASSISTANCE for BLOG READERS:

Regular run:  February 3-March 11
Tues 7, Wed-Fri at 8, Sat at 2:30 & 8, Sun at 2:30 & 7:30
Additional Monday evening perf February 27 at 7

Order by Feb. 21 and use the code HELPMEBLOG
$40 (reg. $70) for all performances Feb 3-19
$50 (reg. $70) for all other performances Feb 21-Mar 11

Online  http://goo.gl/ZY7ks
Call Ticket Central at (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street between 9^th & 10^th Avenues

30&Under Party February 16 following the performance
All non-member tickets $25.  Use code PARTY.  Proof of age required at door.
Order at http://goo.gl/DpR5m

Milk Like Sugar

"Milk Like Sugar" at Playwrights Horizons, October 21, 2011

A few years ago, there were news reports of unhappy high school girls who formed pacts to all get pregnant and drop out of school.  Playwright Kirsten Greenidge has written this concept into the premise of Milk Like Sugar, in which Talisha (Cherise Boothe), Margie (Nikiya Mathis) and Annie (Angela Lewis) are planning their gift list for their shared baby shower including Coach diaper bags and better cellphones.  Margie is already pregnant. Talisha has plans in place.  Only Annie seems to be dragging her feet even though Talisha has picked out a partner for her as well, Malik (J. Mallory-McCree).

As the play opens, the girls have turned up at a tattoo parlor after hours for Annie to get free ink from an uncertified tattooist.  This only one in a continuing series of bad decisions.  Annie's mother Myrna (Tonya Pinkins), cleans offices to support her family.  She fancies herself a writer,  but doesn't seem to understand why she can't use the computers in the offices she cleans.

Ms. Greenidge seems to surf the story on the backs of stereotypes, from the materialistic, frighteningly misinformed, teen girls (Margie says: "Annie, you should get a red tattoo, cuz Malik's phone is red!"), to the sensitive, poet-type Malik trying to escape his ill mother, to the jaded and bitter mother whose life potential ended with her own teenage pregnancy.  Even the tattooist is a misunderstood artist.  Ms. Greenidge also overworks a flame motif from Annie's tattoo to one of the many heavy-handed scene transitions with overstated symbolism. 

Better served might have been the ladybug nursery rhyme that felt much more organic to the proceedings.  It certainly would have made a better title than the line pulled from one of Annie's later monologues when she recounts the image of powdered milk in a cupboard as a hungry child.  About the only scene that really played truthfully was Margie's traumatic first visit to the doctor and the reality check that followed.

Director Rebecca Taichman, who directed Classic Stage's recent Orlando, keeps things moving once the scenes start, but pushes too hard with the choreographed transitions and seems no more at home in the 21st century than she did in the 16th.

Production values are well up to Playwrights' standards with sets by Mimi Lien and lighting by Justin Townsend.  Toni-Leslie James has some fun with the girls' costumes, particularly Margie's penchant for monochromatic outfits.

Milk Like Sugar runs through November 20, 2011.  Tickets are available here.

Playwrights Horizons - Discount on "Milk Like Sugar"

The good folks at Playwrights Horizons have made the following offer.

DISCOUNT TICKETS TO MILK LIKE SUGAR for BLOG READERS:

Order by October 25 and use the code MILKGR
$35 (reg. $55) for Fri, Sat, and Sun evenings, Oct. 14-16; Oct 21-23
$40 (reg. $55) for all other performances Oct. 13-Nov 20

Online: www.TicketCentral.com<http://www.ticketcentral.com/>
Call: (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street

Discount Offer - Playwrights Horizons

COMPLETENESS by Itamar Moses — Discount Tix!

How does a computer scientist hook up with a molecular biologist?  He blinds her with science, of course. When Elliot builds a computer program to help Molly with her research project, the variables in their evolving relationship shift as rapidly as the terms of their experiment. This deft and imaginative new ROM-comedy, also featuring Brian Avers and Meredith Forlenza, shows that even the most sophisticated algorithm may freeze in the face of life’s infinite possibilities.

Order by Sept 13 and tickets are $40 (reg. $70) for performances August 19-Sept. 4; and $50 (reg. $70) for perfs. Sept. 6-25.  Use code COMPBLOG when ordering.  For tix or more information, visit www.playwrightshorizons.org<http://www.playwrightshorizons.org><http://www.playwrightshorizons.org/> or call (212) 279-4200 (Noon-8pm daily).

Go Back to Where You Are

"Go Back to Where You Are" at Playwrights Horizons, April 10, 2011

David Greenspan returns to off-Broadway with a new play at Playwrights Horizons.  It seems to be a combination of The Sound and the Fury, Lips Together, Teeth Apart, and Title of Show. 

Bernard (Brian Hutchison), a high school English teacher and erstwhile playwright, is off to visit his enormously-successful-and-grand-Broadway-actress-sister Claire (Lisa Banes) at her Hamptons manse, not far from the small family cabin in which he weekends.  Along for the weekend are her friend, less-successful-actress Charlotte (Mariann Mayberry), Tom (Stephen Bogardus), Claire's frequent director, his partner Malcolm (Tim Hopper) and Claire's son Wally (Michael Izqueirdo).  An early prologue introduces Passalus (Mr. Greenspan), a Greek chorus boy, trapped between worlds as God's minion longing for an end to the errands and chores of the Almighty.  God wants Passalus to help Carolyn along in her life, escaping the thumb of Claire, her mother.

(Spoiler Alert)

Passalus strikes a bargain with God that if he completes his task, and only that task, God will send him along to the afterlife.

Easier said than done.

Holding Passalus back is an interminable need to "fix" everything he encounters, and Claire's little weekend party is rife with opportunity.  Claire still mourns her husband Robert's death. Wally still mourns his partner Mark's death.  Bernard still mourns his partner Patrick's death. Charlotte still mourns her failing career. Malcolm mourns his dying relationship with Tom. (lots of death for a comedy)

Performances are rather uneven.  Mr. Hutchison's nervous playwright works for the expository monologues, but falls short in the more emotional moments.  Ms. Banes' grande dame of the theatre works better. Ms. Mayberry's Charlotte probably comes across the best.  Mr. Greenspan pulls out his Queen Elizabeth from last year's Orlando for Passalus' alter ego, an 80 year old neighbor woman.  Mr. Bogardus, ever handsome, cruises along, but Mr. Hopper's Malcolm writhes morosely as the spurned lover.

Mr. Greenspan's script bounces around, alot ("Is there no chronology in this play?").  Throughout, each character takes their leave to speak inner thoughts and reactions in direct address.  Director Leigh Silverman keeps things moving and navigates the odd focus and scenes shifts.  Rachel Hauck's beach deck seems to surrealistically unfold into the sunset.

Go Back to Where You Are runs through May 1.  Click here for tickets.

Kin

"Kin" at Playwrights Horizons, March 5, 2011

Playwrights Horizons continues to bring interesting new plays to their stages.  Bathsheba Doran's new play, Kin may not be as high up the quality list as previous productions like Circle, Mirror, Transformation, but it's a respectable effort if a little unfocused.

Anna (Kristen Bush), an English poetry researcher, is heavily involved with an Irish physical trainer, Sean (Patch Darragh).  Her best friend Helena (Laura Heisler) is a struggling actress - manic, nerdy and awkward.  Anna's widowed and distant father, Adam (Cotter Smith), has had a long term, on-again-off-again affair with Kay (Kit Flanagan) who is suffering from cancer.  Add to that Sean's widowed mother, Linda (Suzanne Bertish) who remains agoraphobic in Ireland after a physical assault when Sean was a child.

Spoiler Alert

There are some very interesting scenes that explore bits of the various relationships, but I struggled to find much of a through line that tied all of the unrelated subplots together.  It was certainly a step above a Lifetime movie, yet it ends abruptly on an oddly existential note.


Director Sam Gold generates uniformly capable performances, with only a few worth noting further.  Ms. Flanagan created a lovely moment as Kit lay on her deathbed, consoling Mr. Smith's Adam, who in turn supports Sean's mother very tenderly as she confesses the nature of her physical assault.

Paul Steinberg's set works a bit too hard to frame the various settings, requiring some overlong transitions from scene to scene.

Kin runs through April 3, 2011.  Check here for discount ticket information.

A Small Fire

"A Small Fire" at Playwrights Horizons, December 21, 2010

Adam Bock returns to Playwrights Horizons' main stage with this story of a callous construction contractor as she deals with unexplained health issues.  Emily (Michelle Pawk) thrives in the rough and tumble world of commercial construction.  She seems most comfortable with her employee Billy (Victor Williams).  Her connection with her husband, John (Reed Birney) has reached a working balance of love and dysfunction, but the same can't be said for her soon-to-be-married daughter Jenny (Celia Keenan-Bolger).  A prophetic "We'll work it out." repeats over and over on the presumption that there's always time to resolve issues and difficulties.

Mr. Bock's story begins an interesting exploration of connection and senses, but much of the message feels forced.  The detachment he imbues in Emily comes across as pretty harsh.  As Emily's sensory factors diminish, John's intensify.  Jenny, already feeling estranged over Emily's disparaging comments about her fiance', pulls further away as Emily's ability to interact declines.  Mr. Bock has missed an opportunity to really explore the issue of role-reversal that many children face, trying to help aging parents manage their lives.  There's a brief mention of it, but it's quickly tossed aside.

Ms. Pawk, remarkably talented, never really inhabits Emily's tough shell.  Part of her struggle is in the writing, but the other part is a feeling she is miscast in this role.  Mr. Birney gets the best of this play, exemplified in a monologue during the wedding reception as he describes the action and images for his now-blind wife.  The joyous picture he paints is touching and heart-breaking.

Director Trip Cullman facilitates some compelling moments, but seems constrained by some elements,  the sub-plot of Billy's competitive homing pigeons and a gratuitous sexual interaction between Emily and John.  Many might describe Ms. Pawk as "brave" for the partial nudity, but I found it more sensational than plot-driven.

Loy Arcenas has created an excellent set, conveying the temporary sense of life with unfinished drywall elements, nicely complemented by David Weiner's lighting.

A Small Fire runs through January 23, 2011.  Check below for discount ticket information.

After the Revolution

"After the Revolution" at Playwrights Horizons, October 29, 2010

Amy Herzog's tale of a family's struggle between ideal and reality centers around the legacy of the late Joe Joseph, a Communist Party member who stood up to the McCarthy hearings, refusing to name names during one of the darker political periods of our nation's history.  The story explores idealism vs. reality, truth vs. money.

(Spoiler Alert)

Ben (Peter Friedman) and Leo (Mark Blum), Joe's sons and both committed Marxists themselves, have learned that a book is about to be published identifying Joe as a Soviet Spy during WWII.  Turns out Ben had a pretty good idea it was true, though he never shared it with his idealistic daughter, Emma (Katharine Powell), who runs a defense fund in Joe's name, fighting for equal justice for the questionably accused.  The news turns Emma on her ear, questioning the foundation of her beliefs.  At the same time Emma's major donor, Morty (David Margulies), announces his plans to leave his entire estate to the fund, leaving Emma torn between the opportunity that such money would provide for her cause and the contradiction of doing so in the name of a traitor. 

It's a top-notch cast for the most part, supported by Mare Winningham in a sweet turn as Mel, Ben's well-meaning if not quite as intelligent wife and the inimitable Lois Smith as Ben and Leo's step-mother Vera.   The ironically named Vera is the least ready to reveal the truth about her late husband since it would negatively affect "the cause."  Mr. Friedman maintains the strongest performance, wearing his heart on his sleeve and flagellating himself once Emma learns the truth about Joe.  Ms. Powell, in the pivotal role, suffers from inconsistency.  Some moments are full of truth, but get undermined by moments of self-consciousness.

Director Carolyn Cantor keeps things moving, but the script could stand a trim of 15 minutes or so.  Clint Ramos' set morphs well to serve the multiple locations.

After the Revolution runs through November 28, 2010.  Playwrights Horizons offers the following discount:

Order by November 9 with code ARGR and tickets are only $45 (reg. $55) for all performances Oct. 29 – Nov. 28

HOW TO ORDER:
·        Order online at www.playwrightshorizons.org. Use code APGR.
·        Call Ticket Central at (212) 279-4200 (Noon-8pm daily)
·        Present a printout of this blog post to the Ticket Central box office at 416 West 42nd Street (Noon-8pm daily).

Playwrights Horizons Discount Offer - After the Revolution

Order by November 9 with code ARGR and tickets are only:

·        $40* (reg. $55) for the first week of performances Oct. 21 – Oct. 28

·        $45 (reg. $55) for all performances Oct. 29 – Nov. 28

HOW TO ORDER:

·        Order online at www.playwrightshorizons.org. Use code APGR.

·        Call Ticket Central at (212) 279-4200 (Noon-8pm daily)

·        Present a printout of this blog post to the Ticket Central box office at 416 West 42^nd Street (Noon-8pm daily).

*A limited number of $40 discounted tickets will be available for purchase. Subject to availability. Valid only in select rows.

The Burnt Part Boys

"The Burnt Part Boys" at Playwrights Horizons, May 14, 2010

Playwrights Horizons brings their first new musical since 2008 and it's a welcome offering..

This new musical tells the emotional story of Jake and Pete Twitchell, brothers who lost their father in a coal mine explosion in 1952, the titular "burnt part."  Ten years later, 18 year old Jake (Charlie Brady) has dropped out of high school to work in the mines, while still taking care of his 14 year old brother since their mother has withdrawn from life with a bottle.  Pete (Al Calderon) lives in the fantasy of movies at the local drive-in, conjuring fatherly images of John Wayne as Davy Crockett in "The Alamo" along with Jim Bowie and Sam Houston (all Michael Park), since he can't really remember his own father.  Pete and his buddy Dusty (Noah Galvin) begin a quest to stop the mining company from reopening the burnt part, meeting up with Frances (Molly Ranson), a girl from their class whose father also died in the 1952 explosion.  Frances has exiled herself to the forest after the "scissor incident," involving the shorn locks of a taunting classmate.  The quest takes a predictable turn as Jake and his buddy Chet (Andrew Durand) follow the boys in an attempt to stop Pete from his plan.

Mariana Elder's book is functional, supported nicely by Chris Miller's score, less so by Nathan Tysen's greeting card lyrics.  It is Joe Calarco's direction and musical staging that hold this show together.  He elicits moving performances from his cast, superseding the material.  Standouts are Mr. Park in his multiple roles, Mr. Durand as Chet, Jake's best friend, and Mr. Calderon as Pete.  Brian Prather's simple set flexes well for the multiple location requirements, fully complemented by Chris Lee's lighting.

The Burnt Part Boys runs through June 13.

Discount offer from Playwrights Horizons:

THE BURNT PART BOYS

A New Musical

By Mariana Elder, Chris Miller, and Nathan Tysen

Direction and Musical Staging by Joe Calarco

Blog reader DISCOUNT! Use code “BPGR”

Limit 4 tickets per order. Subject to availability.

Order by May 24 with code BPGR and tickets are only

·        $45 (reg. $70) for all performances April 30 – May 9

·        $55 (reg. $65) for all performances May 11 – June 13

HOW TO ORDER: Order online at www.playwrightshorizons.org. Use code BPGR.

Call Ticket Central at (212) 279-4200 (Noon-8pm daily)

Print and present this blog post at the Ticket Central box office, 416West 42nd Street (Noon-8pm daily).

Clybourne Park

"Clybourne Park" at Playwrights Horizons, February 6, 2010

Bruce Norris' new play tells the tale of an urban neighborhood, specifically one house as it suffers and recovers from white flight over the course of 50 years.

(Spoiler alert)

In 1959, Bev (Christina Kirk) and Russ (Frank Wood) are fleeing the pain of losing their Korean War veteran son to suicide following accusations of war crimes.  They've relinquished responsibility for the sale of their house to the realtor who has sold it to a black family, the first in the neighborhood.  Russ' depression has practically paralyzed him, so Bev has called Jim (Brendan Griffin) their pastor for a little counsel.  As news of the sale gets out, Russ' co-worker Karl (Jeremy Shamos) and his hearing-impaired and pregnant wife (Anne Parisse).  Francine (Crystal A. Dickinson), Bev and Russ' maid and her husband Albert (Damon Gupton) get dragged into the discussion about the impact of the property's sale on the rest of the homeowners in the area.

Fifty years later, the proximity of the neighborhood to downtown has created new interest in the area and a white couple expecting their first child has bought the same house with plans to raze it and build new.  The politics now include a neighborhood association concerned that their plans will destroy the personality that has evolved over the last 50 years.

Mr. Norris manages to avoid a replay of "All In The Family" when the Jeffersons moved in next door, but does create a tense environment in both eras.  He doesn't quite reach the "pitch black" comedy put forth in the marketing materials, but there is an awkward reality to the premise, highlighting two generations of white guilt on each side of political correctness.  The plot construction is good, but the writing pales at times, falling to stereotype particularly in the second act.

Ms. Kirk's Bev never quite rings true, but Mr. Wood's Russ demonstrates his consummate skill as a character actor.  Mr. Shamos pulls off the most convincing transformation from the panicky neighbor Karl to the new homebuyer Steve in Act II.  Ms. Parisse doesn't have so much to do in Act I as the deaf Betsy, but gets a chance to put in a bit of work through her second act apology of a character, Lindsey.

Daniel Ostling's set ages well, complemented by Allen Lee Hughes lighting.  Ilona Somogyi's costumes capture both periods effectively.  Director Pam McKinnon tries to keep things apace, but gets bogged down from time to time.

Overall it's a nice effort.  The show runs through March 7, 2010.


Playwrights Horizons is offering a discount:

Order by February 21 with code CPGR and tickets are only

• $40 (reg. $65) for all performances Jan 29-Feb 14
• $50 (reg. $65) for all performances Feb 16-March 17

How to Order: Order online at www.playwrightshorizons.org  Use code CPGR.
Call Ticket Central at (212)279-4200 (Noon-8pm daily)
Present the discount code at the Ticket Central box office, 416 West 42nd Street (Noon-8pm daily).

This

"This" at Playwrights Horizons, November 17, 2009

(photo by Joan Marcus)

Jane (Julianne Nicholson) doesn't like games, particularly since her husband died almost a year ago, leaving her with a precocious child and no energy or ambition to expand her world. Long-time college friend Marrell (Eisha Davis) has found a sexy French doctor, Jean-Pierre (Louis Cancelmi) for Jane, sublimating her own lust and frustration of life with cabinet-maker husband Tom (Darren Pettie) and a newborn son who only sleeps in 15 minute increments. Alan (Glenn Fitzgerald) is the annoying, long-time gay friend/plot contrivance that facilitates exposition.

Playwright Melissa James Gibson sets her oddly titled story in various New York-like locations, Jane spends most of her time avoiding her own grief while placating her friends. In the opening game, Jane is sent out of the room, while her friends supposedly make up a story. Actually they don't, but Jane is to figure out the story by asking questions. Those ending in a vowel are answered "yes." Those ending in consonant are answered "no" and those in a Y, "maybe." Unwittingly, Jane's series of questions point the story to that of her own, revealing the dead husband. It's an interesting device to raise the emotional stakes early on. I had hoped to see the game repeated throughout the 100 minute, intermissionless evening, continuing its early success. Still, Ms. Gibson tosses in some interesting plot twists along with nice dialog, though each of the characters does have a tendency to sound like a grammar lesson on occasion.

Ms. Nicholson, fresh from "Law & Order: Criminal Intent" is actually a replacement in the role of Jane, originally intended for Parker Posey. I don't know the details behind the change, but it has turned out to be a wise one. Her Jane is grounded and lost, focused and distracted, all at the same time. Her final monologue, apologizing to her daughter for losing her temper is lovely.

Ms. Davis' Marrell twists and writhes under the pressure of new motherhood and her own self-pressure to do it perfectly, while also trying to perfect her less-than-perfect husband. There's a lovely humanity in her portrayal of this flawed character.

Mr. Pettie, rugged and handsome, gives a nicely shaded performance as the blue-collar type holding his own among a collegiate social circle. Mr. Fitzgerald does the best he can with the limited character sketch he's been provided, a coincidental mnemologist (one who can remember conversations verbatim - his one solo scene demonstrating this skill is superfluous and could easily be cut). Mr. Canclemi's sexy Jean-Pierre brings a sense of reason and balance to the group of naval-gazing friends. It is his inability to translate a description of the self-centered climactic plot revelations that awkwardly provides the play's title.

Director Daniel Aukin props the humor up front when things could get miserably dark, keeping the pace moving, though the cut mentioned above is only one possibility for tightening up the evening. Louisa Thompson's heavily layered set serves well as three different apartments, a nightclub and a sidewalk, accomplished with complementary lighting by Matt Frey.


Playwrights Horizons is offering discounted tickets:

Order by Nov.25 with the code THGR to get tickets for only $40 for performances Nov. 6 - Nov. 15 (reg. $65), or $50 for performances October Nov. 17 - Dec. 13 (reg. $65).

To order: visit www.playwrightshorizons.org or call Ticket Central at (212) 279-4200, open daily noon-8:00 pm.