The Comedy of Errors

"The Comedy of Error" presented by The Public Theater at Delacorte Theater, June 2, 2013

(photo by Joan Marcus)


The first of the Public Theater's presentations of Shakespeare in the Park is Shakespeare's take on Plautus' Menaechmi, complicated with an extra set of twins separated as small children.  There's no adaptation credit given in the playbill, but one might presume that dramaturg Robert Blacker was pivotal in the streamlining of the book down to a 90 minute one-act.  The result is a farce set in a 1940s Ephesus, complete with a jitterbugging, lindy hopping chorus gathered around the jukebox - - Shakespeare meets Guy and Dolls. 

Director Daniel Sullivan focuses his energies around Hamish Linklater and Jesse Tyler Ferguson as they take on the dual roles of Antipholus and Dromio, respectively.  Mr. Linklater achieves the greater success in creating two distinct characters around the long-lost brothers.  Mr. Ferguson comes in a close second.  Heidi Schreck also manages to find her way as Luciana.  Skip Suddeth brings us a Tony Soprano-style Duke.  The rest of the cast is serviceable if unremarkable, except for Emily Bergl's gasp-worthy pratfall as Adriana.

The pace is good.  The costumes colorful and sets work nicely.  There are plenty of laughs. It's a good night in Central Park.

Tickets are free, distributed the day of each show at the Delacorte box office in Central Park.  The Comedy of Errors runs through June 30.

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.

Passing Generations

"The Little Flower of East Orange" co-presented by LAByrinth Theatre and the Public Theater on the Martinson Stage, May 3, 2008

(photo: Monique Carboni)

Steven Adly Guirgis' new play is about to close its run at the Public. It's a compelling story with some terrific performances.

Danny (Michael Shannon) opens the play in handcuffs, presenting the story as a memory. He's an alcoholic and drug addict, at one time a successful writer but has been unable to repeat his early success. He tells the story of a girl "...who could roller skate on rooftops...," his mother Therese (Ellen Burstyn) who was raised by deaf Irish immigrant parents during the Depression. Her father Francis James (Howie Seago) falls to the Irish stereotype of proud, drunken and abusive. His abuse leaves his mark primarily on Therese, who spends most of her adult life as an invalid. Tired of being a burden on her children, Therese takes off in a nightgown in her wheelchair and topples herself down some park stairs, refusing at first to identify herself to the hospital staff when she regains consciousness. Eventually, the doctor (Ajay Naidu) dupes her into revealing her name and contacts her daughter Justina (Elizabeth Canavan), who tracks down Danny in rehab in Arizona to return to NYC. Dysfunction only begins to describe the family bond.

Caring for her in the hospital are nurse Magnolia (Lisa Colon-Zayas) and orderly Espinosa (David Zayas). They begin by sparring over the care of patients (she cares, he's bitter because of the poor pay rate). Both become very protective of Therese once she comes to. This occupies most of Act I.

Once Therese's children arrive, Act II the memory narrative seems to vanish with a very linear, almost traditional approach to story-telling. During this act, we learn much more about Therese's life and tribulations with her father, finally learning of the extent, impact and the ultimate cost to Therese. Danny forces this confession from her, hoping she will love herself as much as he loves her, but her loyalty and respect for her father prevents the catharsis from completing. The confession is only painful for her as she refuses to blame her father for the physical and emotional pain he caused.

Mr. Guirgis has managed to capture a very unique perspective of the generation represented by Therese. Late in the second act, Therese (Ellen Burstyn) talks about her physically abusive father with such a sense of love and respect for a man who brought her such physical pain. It reminded me very much the way my mother still speaks of her parents (though the physical abuse was never a factor for her). It was a time for children when parents were just parents, not friends. Children knew their parents loved them, whether they said it or not. Parental expectations for children to behave and strive for achievement was understood. A disgusted look of disappointment was much worse punishment than a spanking or a lecture. Danny never makes this connection, very much the same way that Therese never links her father's actions as being responsible for the physical pain she endured most of her life.

Mr. Shannon's performance as Danny is a fearless demonstration of a man with demons, some of which he's trying to exorcise, others he just can't approach. It's also a loud performance, since his point-making technique is usually shouting.

Ms. Burstyn's Therese is both manipulative and heart-breaking, particularly in her co-dependency with Danny. I'm glad I've finally gotten to see her perform on stage - it's a truly remarkable performance of talent and skill.

Mr. Zayas' Espinosa is another performance of note. Full of bravado and braggadocio, his loud complaints about the low pay and hassles of troublesome patients are a facade over a caring and thoughtful man. A particular moment of note was a scene in which he talks the son of another dying patient off the ledge of the hospital roof - saintly bullying, you might say.

The rest of the cast was pretty uneven. Ms. Canavan's Justina was little more than histrionics and shrieking, never quite reaching believability. Mr. Naidu's doctor barely achieves a second dimension. Mr. Seago's Francis James had some very nice moments, notably a scene when he learns that Therese as a young woman might never walk again.

I don't have documentation of it, but it's my understanding that Mr. Guirgis is in the habit of beginning rehearsals for his plays before they are finished. That seem evident here in the stark difference in tone between Acts I and II. He has left a couple of interesting moments unexplored. For example, when Danny arrives at the hospital for the first time, he's accompanied by Nadine (Gillian Jacobs in a very underwritten role) another escapee from the rehab center. She sees the same visions of Francis James that Therese does, but it only happens once and she's quickly banished to off-stage references, never to be seen again. Also missing were Therese's husband and mother. These felt like pretty large gaps to me.

Director Philip Seymour Hoffman has made the results as cohesive as possible. He's extracted fine performances from Mr. Shannon and Ms. Burstyn and keeps a compelling pace.

Narelle Sisson's set makes clever use of translucent panels that evoke both an intensive care setting as well as effective screens for shadows and projections, complemented nicely by Japhy Weideman's lights. Mimi O'Donnell's wardrobe was serviceable and appropriately unremarkable.

This was my first LAB/Public show. I look forward to the next.