Lysistrata Jones

 "Lysistrata Jones" at Walter Kerr Theatre, November 18, 2011

Transferring from off-Broadway run downtown, Douglas Carter Beane takes on the Greeks again in this re-telling of the Aristophanes classic.  Tongue remains firmly in cheek, much as it did with Xanadu a few years ago.

From one perspective, it's an extended episode of "Glee."  But that's slightly dismissive and I did have a great time.  Liz Mikel kicks things off as the goddess Hetaira, quickly moving the location from Olympus to Athens University, where the basketball team hasn't won a game in 33 years.  Lysistrata Jones (Pati Murin) arrives as a transfer student and starts to stir things up right away, putting together a cheerleading squad to motivate the team.

When the players tell the squad they're not interested in improving, Lys searches for a new plan, coming across the Aristophanes' play for which she was named.  Borrowing its plot points for her own devices, Lys has little immediate success.  School nerd, Xander (Jason Tam) learns to dance from an app on his smart phone. Adorable team captain Mick (Josh Segarra) delivers what will likely be short-lived jokes about Herman Cain.  Women's study major (duck before the subtext knocks you over) Robin (Lindsay Nicole Chambers) makes her own conversion of sorts, too.

Mr. Beane, as usual, plays with gender roles and mixes up the couples with both expected and unexpected pairings, pulling much from pop culture as mentioned above.  (By the way, the Athens University team mascot?  Yes...the Spartans.)  Lewis Flinn's score serves well, moving the story along, though there aren't many memorable songs.  Director/choreographer Dan Knechtges keeps the pace moving, borrowing a bit of Bill T. Jones here and there among the basketball exercise drills.

It may not outrun "Chicago," it may not provide the catharsis of "War Horse," but it's lots of fun.  There should be plenty of discounts available.  Check out Broadwaybox.com and get tickets.

Catching Up the Backlog

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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


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

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

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

A Little Night Music (revisit)

"A Little Night Music" at the Walter Kerr Theatre, July 30, 2010

(photo: Joan Marcus)

With an impressive pair of replacements, I returned to see ALNM.  I'm so glad I did.  As much as I enjoyed the original cast (review: here), it is so nice to see how a change of actor can enhance a show.

Taking on the mantle of Madame Armfeldt from Angela Lansbury, Elaine Stritch gives a two-level performance, though perhaps unintentionally.  It reminded me a bit of when I saw the revival of "Nine" a few years ago and Eartha Kitt had taken over the role of Liliane LeFleur from Chita Rivera.  Then, Ms. Kitt as Ms. LeFleur was dreadful, BUT Ms. Kitt as "Eartha Kitt as Liliane Lefleur" was fabulous.  The effect is similar here with Ms. Stritch.  Her classic deadpan line readings don't quite deliver the sophistication one expects from Mme Armfeldt, but taking the performance as a whole, she does make a success of it.  There were a few bumpy moments along the way in "Liaisons" but only the truest fans who have the score memorized would have realized it.

Replacing Catherine Zeta Jones, Bernadette Peters as Desiree performs as though she's studied the role for years.  Her Desiree is quite a bit more world-weary than her predecessor.  She sees that not only is her beauty on the brink, so is her time to fill the rest of her life.  Ms. Peters does all this without coming across as jaded or cynical, but still hopeful that her chance exists.  At the moment when she thinks all is lost, the classic "Send In The Clowns," she sings through tears with heart-breaking emotion.  It is a masterful performance.

The rest of the cast remains strong overall. A few notes: Miss Mallory's Anne has taken on something of an odd drawl in her speech that feels a bit anachronistic at times, but her performance has grown during the run.  Miss Davie, too, has grown, finding nuance at opportune moments.


Miss Peters and Miss Stritch are on contract through November.  It will be interesting to see if the producers can come up with another pair of replacements this interesting when the time comes.

A Little Night Music

"A Little Night Music" at the Walter Kerr Theatre, February 3, 2010

(photo by Joan Marcus)

Stephen Sondheim's A Little Night Music first bowed on Broadway in 1973.  Tales of potential Broadway revivals have floated for years until a tiny theatre, The Menier Chocolate Factory in London, started a string of stripped down revivals that have transferred over the last couple of years.  Among them, Sondheim's Sunday In The Park With George, which took residence via Roundabout Theatre Company in 2008.  Coming soon is La Cage Aux Folles, starting previews in April.  Under the direction of Trevor Nunn, ALNM has arrived in New York with a well-assembled cast including Catherine Zeta-Jones as Desiree in her Broadway debut.

Miss Z-J's Desiree is almost painfully beautiful, creating an interesting take on the role as a woman facing middle age who's gotten by on her looks, rather than her acting talent.  This Desiree is one from the bus and truck crowd of late 19th century Swedish theatre, a glamorous facade covering a woman growing lonely and tired of the continual games of lovers and roles.  Miss Z-J was not in her finest voice at this performance (though it was matinee day), but overall managed to find a lovely heart in the role. Her regret was almost palpable in Sondheim's only pop hit, "Send In The Clowns."

Nearly walking off with the show was Angela Lansbury as Mme Armfeldt.  This aging courtesan, now full of unsolicited advice and Wildean quips, lands each zinger with finesse.  "Liaisons" (one of my favorite Sondheim songs) sums up the evolution of the expedience of love and lust from the feudal system to the aftermath of the industrial revolution as she shares her exploits with and acquisitions.  Ms. Lansbury's performance is masterful.  She took home her 5th Tony for last season's Blithe Spirit and is likely lined up for another nomination.

As Frederick Egerman, Alexander Hanson brings a naturalism to the unsettled lawyer trapped in a new marriage with a friend's daughter that remains unconsummated.  His discomfort and resignation to middle age ring true.  As his son Henrik, Hunter Ryan Herdlicka never seems to find much beyond two dimensions.  Ramona Mallory,  playing Anne, the role her mother Victoria originated in the original Broadway production, is neither a lookalike or soundalike, but makes the role her own - an auspicious debut.  I look forward to her next outing.  Rounding out the cast are Erin Davie as Charlotte, giving us a glimpse of what Little Edie might have been had she actually married and left Long Island.  Leigh Ann Larkin cruises through the role of the maid, Petra, until "The Miller's Son" late in Act II turning the boast into a confession.  Aaron Lazar wins the vocal competition as Carl Magnus, flourishing through "In Praise of Women."

David Farley's low-key and adaptable mirror-panel sets were mostly visible under Hartley T. A. Kemp's minimal lighting. Mr. Farley's costumes were nicely serviceable as well.

Director Trevor Nunn has followed TMCF's tradition of musical "down-sizing" paring the story down to its core, with a focus on the story telling.  Even the once-lush score gets trimmed with a scaled-down 8-piece orchestra.  The reduction doesn't necessarily hinder the performance, but a fuller accompaniment might have gone a long way.  The show opens a bit darkly, with a funereal tempo and black-clad ensemble soon waltzing to Lynne Page's swirling choreography.

A Dismal Affair

"A Catered Affair" at the Walter Kerr Theatre, April 26, 2008

(photo: Jim Cox)

Another Rialto musical that does little to charm, provoke, stir or interest, "A Catered Affair" is based on material by Paddy Chayefsky first produced for television, then in film. I'm sure most of you are familiar with the film version which starred Bette Davis, Ernest Borgnine and Debbie Reynolds as a working class family in the Bronx torn between investing in the father's taxi medallion and giving their daughter a wedding she'll never forget.

The creative team for this show has pedigree: director John Doyle, bookwriter Harvey Fierstein, sets by David Gallo and lighting by Brian McDevitt, with an experienced cast led by Mr. Fierstein and Faith Prince should have added up to a solid offering.

So much for pedigree, sadly.

In this adaptation by Harvey Fierstein, the story is basically the same. Tom (Tom Wopat) and Aggie (Ms. Prince) have just returned from a memorial in Washington, DC for their son, killed in Korea. Their remaining child Janey (Leslie Kritzer) announces that she and her boyfriend Ralph (Matt Cavenaugh) are engaged, with plans to wed in a couple of days. The rush is to take advantage of an offer from a friend of Janey's who is also marrying and moving to California. Janey and Ralph have the chance to drive the friend's car and belongings cross country, which they would treat as a paid honeymoon. As soon as the announcement is made, Aggie's brother Winston (Mr. Fierstein) turns up. He lives with Aggie and Tom and has "evolved" in Mr. Fierstein's adaptation from a drunken Irishman into a fey florist.

Suffice to say, the small plans get overblown and Tom's hope of finally earning a better share from the taxi fades as Aggie realizes she favored the now-dead son over her daughter. Strife, woe and a lot of noisy shouting ensue before Aggie realizes that she was the reason she felt her marriage was loveless all those years.

I knew early on that things weren't promising when the first song in the show didn't start until ten minutes after the lights went up. John Bucchino's score is sometimes cinematic, but the songs tend to just stop rather than ending. The results on more than one occasion were uncomfortable silences when the music stopped.

Other than to provide Mr. Fierstein with a vehicle for himself (not that I would begrudge that), I never understood why it was necessary to make Uncle Winston gay. It only served as an anachronistic distraction from the story. I don't think a 1953 Winston would have announced his orientation so loudly at the first meeting with the new in-laws-to-be.

As Aggie, Ms. Prince returns to Broadway for the first time since her 2001 appearance in the revival of "Noises Off." Her Aggie is pragmatic (performing without mascara), but longs to give her child what she didn't get. I found it interesting that in the longer dialog scenes, Ms. Prince's delivery reverted to clipped, Bette Davis-style meter and inflection.

Mr. Wopat felt a bit miscast and underused in the role of Tom. He shuffles and grumbles until Aggie finally says out loud that their life was loveless, when he replies that he never felt that way.

Ms. Kritzer's Janey is practical and nicely voiced, but doesn't get much to work with. Mr. Cavenaugh's Ralph sounded a lot like his Joe Kennedy, Jr. from "Grey Gardens."

Kristine Zbornik is the only one of the remaining company that manages to create an impression with the material she's given.

David Gallo's set follows the current trend of projected images on a white background. It's a nice moment for the song at the catering hall when the image takes on color as Aggie describes what she imagines for the reception. Brian McDevitt's lights create plenty of shadows for the company to avoid so they can be seen. Ann Hould-Ward's costumes were serviceable, but why did she feel compelled to put Matt Cavenaugh's pretty face behind those ugly horn-rimmed glasses?

Director John Doyle appears to focused on characters at the expense of entertainment. There's a lack of sweetness that should encompass a story like this. He seems to have only spent time on the conflicts, perhaps thinking the sweetness would rise on its own.

It didn't.

Not so Black and White, Anymore

"Grey Gardens" at the Walter Kerr Theatre, October 24, 2006

After a four-month, sold out run off Broadway at Playwright's Horizon, "Grey Gardens" has transferred to Broadway, giving Christine Ebersole the exposure she deserves in her tour-de-force performance as both Edith Bouvier Beales, the mother and daughter.

Based on and extrapolating from the documentary of the same name by David and Albert Maysles in the early 1970's, Doug Wright has taken the tale of Edith and Little Edie Beale, relatives of Jackie Kennedy, who were found living in squalor, on their family estate - Grey Gardens in Easthampton, NY.

Act I finds Edith preparing to perform at the engagement party of daughter Little Edie to Joseph Kennedy, Jr. Edith's father, the Major is along to balance the presence of little cousins, Lee and Jackie Bouvier. Also present is the resident fop, George Gould Strong, Edith's accompanist, bon vivante, and ever so fey confidante. By the end of the act, the Beale women have been dealt major blows. Mr. Beale has wired to say that not only is he not attending the engagement party, but that he is divorcing Edith in Mexico. Edith's response is to sabotage the engagement, driving Mr. Kennedy out of Little Edie's life. The act ends as Little Edie packs a suitcase and flees the house as Edith greets the party guests with one of the songs she has prepared to perform.

Act II picks up in 1972, the period during which the documentary was filmed. Little Edie, now 56, lives with Edith in the house which is overrun with cats, raccoons and garbage. A neighbor boy, Jerry, has taken an interest in the two and shows up regularly to help out, and enjoy the fun of watching these two eccentric and bizarre women.

Mr. Wright has used artistic license to create the events in Act I. It is known that efforts to join the Bouviers and the Kennedys had been underway long before Jackie and Jack got together. Both families saw the advantages that would be afforded to both sides, so a proposed union between Little Edie and Joseph, Jr. might have been considered.

To turn this story into a musical seems the bigger challenge, in my view. The Maysles' documentary presents a pitiful scenario of two women on and near the end of a downward spiral, caught between pride and poverty on the edge of insanity. Scott Frankel has done an masterful job of capturing the diverse moods and feelings in the two acts. I had the fortune to crash the cast talk-back after the performance and asked Mr. Frankel about the first act score. As I watched the show, the overall sense I got was a Kern/Porter/Gershwin/Rodgers feeling, which would suit Edith's musical tastes. Edith was famous (infamous?) for performing extensively at her own high-society parties, and did make several records in the 30's and 40's. I asked Mr. Frankel if he had a single composer of the era in mind. He confirmed the Porter/Gershwin/Kern flavor was his intent. Michael Korie's lyrics match the styles and integrate song into story beautifully.

The opening number "The Girl Who Has Everything" evokes the Kern/Lehar era as it reveals Edith in rehearsal for the engagement party. A quick segue way into "The Five Fifteen" gives just the right level of exposition and sets the excitement for the evening's party.

Joe appears after Edith and Little Edie have had their first go-round about the musical plans for the party in "Mother Darling." They escape to the terrace where he shares his family's ambitions, "Going Places."

The Major enters next and takes young Lee and Jackie outdoors for a little golf lesson and grandfatherly advice, "Marry Well." It is here that his influence becomes apparent as a driving force among these Bouvier women.

As Little Edie in Act 1, Erin Davie softens the role originated by Sara Guettelfinger, and instills sympathy with her fragile performance. Her Edie sees spinsterhood looming in her future and is desparate to avoid it, as well as escape from the passive/aggressive destructive treatment she gets from her mother. Her "Mother Darling" is much more of a plea than a demand for Edith to allow the party to occur naturally, without Edith's usual "impromptu" vocal performance that has become standard fare at a Grey Gardens event. She has her own ambitions for a performing career, sharing it with Joe during their duet "Going Places." Unfortunately, Joe's (or the Kennedys') plans do not include a working wife, particularly working in show business.

Matt Cavenaugh has grown nicely in his role as Joe Kennedy, Jr. He has managed to nail down the flat and nasal Massachussetts drawl so strongly identified with that clan. His role has been modified, but to the advantage of the story. Off-Broadway, Joe was used more as a stock juvenile role. Now his character has some depth and helps bring the story along. In Act II, Mr. Cavenaugh plays Jerry, the neighbor boy who stops by to lend a hand. He transitions between roles nicely.

John McMartin as Major Bouvier also benefits from the changes to Act I. His Major may have retired to enjoy his family and free time, but he still wields a firm hand with daughter Edith. When Little Edie finds her opportunity to let him know that Edith plans to sing at the party, he puts his foot down and as he speaks to Edith, we get a taste of how Mr. Beale speaks to Little Edie. His number "Marry Well" sung to little Jackie and Lee foreshadows the profitable unions those two will achieve as adults. When Little Edie joins the number late, you already get the sense that for all her efforts, she will not have the same fortune.

As George Gould Strong, Bob Stillman fulfills the role of Edith's accompanist, best friend and confidante. His Gould is another stock character, the dandy, but he keeps from suffering the stereotype. He knows his position in the household is tenuous and since he truly cares about Edith, he is quick to offer to leave Grey Gardens to return to NYC and make his own way. She won't hear of it.

It is Christine Ebersole who is the heart and soul of this production. As Edith, she coos, cajoles, threatens, berates and pleads her way through the party preparations. She demonstrates in "The Five Fifteen" that she has entertained enough to let the minor details of flowers, food and chairs take care of themselves while she rehearses her songs. Her dysfunctional relationship with Little Edie appears early in their duet, "Mother Darling." It is when Mr. Beale's telegram arrives for Little Edie that she sees just how desperate her situation is. She betrays Little Edie to Joe with the tale of an embarrassing swimsuit accident which Little Edie suffered through, sabotaging the engagement. Knowing Little Edie will have no other option but to stay, Edith's final song of the act, "Will You?" becomes a plea for forgiveness.

Mary Louise Wilson reappears in Act II as Edith, after the very brief Prologue that began the show. You quickly sense the how the years have worn on her. Her first song “The Cake I Had” is both proud and rueful, as she explains why she did some of the things she did which have landed her in her present state. Her Edith is still just as competitive with Little Edie as ever. When they talk about Jerry, she is quick to squelch Little Edie’s misplaced ideas that he is sexually interested in the younger Beale woman. While her concept may be right, it is only partially so. She sings “Jerry Likes My Corn” and you think she feels Jerry is more interested in her.

With all the style and confidence displayed in Act I, Ms. Ebersole's Little Edie in Act II has become a shell of what she might have been. Unconfident, no self-esteem and bordering on lunacy, Little Edie can only focus on things she knows - working with what few clothes she has left, trying to carry any sense of style her poverty will afford. The stress of the intervening years has made her bald and she has taken to wearing cardigan sweaters on her head, buttoned under her chin and tied with a brooch to serve as "hair." The verge of paranoia hangs over her Edie, but one can still see the trapped young woman desperate to escape this twisted jail her life has become. Opening Act II with “The Revolutionary Costume for Today,” is the first of many quotes from the documentary that are expanded upon in this act. When Edie works up the courage to actually leave Grey Gardens, she sings longingly of what she’s missed in “Around the World.” Suitcase in hand at the edge of the property, it is Edith’s call to Edie that she is compelled to answer, and seals her own fate to remain there. A reprise of “Will You?” is now again a plea for forgiveness, but from each woman to the other.

Director Michael Grief has refined his efforts with the streamlining of both acts. Three new songs were added to Act I, with a new reprise in Act II. The changes to both book and score have cleared up both motivations and reactions to the pivotal events instigated by Mr. Beale's telegram. Having now seen the original documentary between these two productions, He has really captured not only the reality of the events in Act II, but also has managed to look into the minds of the two women as well. He has lifted events from the documentary and translated them to the stage with grace and truth. When Little Edie shows Jerry her marching song, the soldiers she sees in her mind appear and dance along with her.

Sets by Allen Moyer are unchanged from the earlier production, but sitting in the mezzanine for this show, I now understood the intentions behind the design. The main stage area slides forward and back to make room for various changes downstage, such as a lovers’ bench for Joe and Little Edie, or the terrace steps for Edith’s number which closes Act I. During Act II, as Little Edie stands frozen with her suitcase contemplating her departure, she is below a gap in the stage that separates her from the house. As Edith calls to her, her voice closes the gap and Edie crosses back to her old life.

I saw the Playwright's production last spring and enjoyed it, but felt it was more an evening of two one-act musicals, only connected by common character names.

When I learned that the show was going to transfer, I was hopeful that the creative team would have (and take) the opportunity to make the changes necessary to give the audience a more cohesive evening at the theatre.

I'm so happy they have - and beautifully so!