Jasmine Guy Syndrome

"The Country Girl" at the Bernard B. Jacobs Theatre, April 11, 2008

It looked like a dream team: Frances McDormand, Morgan Freeman, Peter Gallagher under the able direction of Mike Nichols in a revival of Clifford Odets' 1950 classic backstage drama.

The piece certainly has pedigree. It won a Tony for Uta Hagen's Georgie in the original, and one for Jason Robards' Frank in the 1972 revival, not to mention the Oscar for Grace Kelly in the 1954 movie version. In its current outing on the Rialto, it seems that the third time is not the charm. I'll try to keep in mind that this was an early preview, but if a production is selling seats at full fare, they should be ready.

The story follows that of Frank Elgin (Mr. Freeman), an aging actor with a teeny, tiny drinking problem. He's playing a walk-on role in a new play when the director Bernie Dodds (Mr. Gallagher) loses his leading actor. Producer Phil Cook (Chip Zien) wants to call in a named star, but Bernie thinks Frank can finally make his mark, based on a performance Bernie saw Frank give 20 years before. Skeptical of his skills and ability to stay dry, Frank accepts the role after talking it over with his long-suffering wife Georgie (Ms. McDormand). Through painful rehearsals, difficulty learning lines, and a drinking relapse during the Boston tryout, Frank pulls through and is a triumph. The drama lies in Frank's obfuscation of his own reality, blaming Georgie and creating a fictitious backstory of insecurity and weakness for her to explain why he drinks and cannot leave her.

Of the three leads, Mr. Gallagher's Bernie comes off the most successfully. There were one or two line stumbles, but it could have been the result of others' stumbling with their own lines as the cause. Ms. McDormand has some great moments as well, but she also suffers from the real weakness in the cast, Mr. Freeman. In her scenes with Mr. Gallagher, the energy returns and their chemistry is quite good together.

The title of this post goes back to the preview I saw of Richard Greenberg's play, "The Violet Hour" at Manhattan Theatre club's inaugural performance at the Biltmore. In it, Ms. Guy played a Josephine Baker-like character. Every time she walked on, it was as if someone had suddenly vacuumed every bit of energy out of the building. She was replaced in her role during previews by Robin Miles, "due to illness" and did not return to the play.

Mr. Freeman suffers a similar fate, but not quite to the same painful result. His trademark sardonic delivery works for some scenes, but the role of Frank needs a significantly larger range of emotions. Perhaps it is art imitating life, or vice versa, but Mr. Freeman struggled frequently with lines, even using the wrong character names at times (for example, referring to Mr. Gallagher's character as Frank, and then corrected by Ms. McDormand). It's difficult to say what caused the lack of chemistry between him and Ms. McDormand, but I never saw any inkling of what drew, and kept, the two characters together.

I also have to question the color-blind casting here. Mr. Freeman is the only role cast with a "minority" similar to the recent revival of "Come Back, Little Sheba" with Epatha Merkerson. In her case, the argument could be made for casting as such without needing to address it in the text of the script. Here it only seems to add to the lack of chemistry found between Ms. McDormand and Mr. Freeman.

Tim Hatley's strongly skewed perspective sets reached back to a similar concept he used in "Private Lives" in 2002. Natasha Katz' lighting complemented nicely. Albert Wolsky's costumes were spot-on to the 1950 setting.

I'm not sure what Mr. Nichols might have done to improve the situation, other than recast Mr. Freeman. I can say for certain that he was still around during previews. There was a technical glitch during the change between scenes 2 and 3, resulting in about a 30 minute delay (broken winch). Mr. Nichols addressed the audience over the PA, thanking us for our patience and graciousness. Perhaps his closing comment summed things up: "If you have drugs, do them." He gets fine performances out of the rest of the cast and keeps things moving, but he just didn't seem able to reach Mr. Freeman.

Starwatch: Actor Sam Rockwell in the audience. (He's not very tall!)

The Times Stole My Headline

"From Up Here" presented by Manhattan Theatre Club at City Center, April 9, 2008

Julie White returns to the NY stage after her triumphant (and Tony-winning) performance in "The Little Dog Laughed." It's a triumphant return as the mother of a troubled teen who came close to an act of Columbine proportions. (spoiler alert)

Director Leigh Silverman has assembled an excellent cast including Ms. White as Grace, the mother of Kenny (Tobias Segal) and Lauren (Aya Cash) and one year into her second marriage to Daniel (Brian Hutchison). Kenny is trying to return to some kind of normalcy after being caught with a handgun at school. He can't go anywhere unescorted by an adult and gets his book bag searched at every turn (can't even carry pencils - too weapon-like). With an unscrupulous class-mate assigned as a "mentor," Kate (Jenni Barber) is more interested in him as fodder for her college application essays. Lauren has a dorky suitor in the form of Charlie (Will Rogers). Grace's sister Caroline (Arija Bareikis) drops in for Kenny's birthday from her world travels with the Peace Corps - she's the cool aunt whom Kenny adores. Seeing the havoc of her sister's reality, she ultimately reveals that she's unable to be more than a fun distraction and bolts when Kenny probably needs her most.

As Kenny, Mr. Segal brings us a troubled, confused and vulnerable teen. Conversation requires major effort and expressing himself is nearly impossible. It's a painfully accurate portrait of a teenager in crisis. He provided glimpses of this previously as the Young Man in "Doris to Darlene" at Playwrights Horizons last December.

Ms. Cash's smart-mouthed Lauren is trying to keep a low profile while her family's problems fly around her. She reveals her own vulnerability filtered through the backtalk. She is pursued by Charlie, another callow, yet gawkingly endearing performance by Will Rogers. She treats him like dirt and he keeps coming back for more like a hungry puppy until she finally realizes that despite his feet being crammed permanently in his own mouth, he's a sweet guy she should hang onto.

Mr. Hutchison's Daniel is struggling to keep his new family together. He's a well-meaning, almost noble guy who has a vision of the long-term value of family, despite the fact that his wife's two teenagers treat him like an alien. Coming off initially as almost spineless, he reveals Daniel's layers slowly and tenderly. It's a subtle and tender performance. Ms. Bareikis' Caroline, while appropriately athletic and crunchy, doesn't quite land the discomfort when she realizes that she can't do much more than provide a distraction from Kenny's troubles.

It's Ms. White who once again delivers the goods. Her Grace, at first distracted, well-intended, but seemingly unaware almost dissolves before you. The pain in her eyes as attempt after attempt to connect with her troubled son cuts to the core. Constantly cleaning up, she never finds success. Finally, a literal spilling of milk leads Grace to her breakdown after discovering a neighbor's hired gardener relieving himself in her bushes, she ends up in the same police station that Kenny landed in a few weeks before. From tears to anger to laughter, she gives everything she has - another master class in acting.

Director Silverman keeps the pace moving and the transitions from light to serious are handled with great delicacy. (I did wonder what the symbolism was of having all three female characters shirtless in the first act.) Allen Moyer's sets move from realistic to more suggestive without interrupting the story. Mattie Ullrich's costumes are functional as is Pat Collins' lighting.

Starwatch: Playwright David Henry Hwang in the audience.

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.").

Omigod You Guys!

It looks like they've pulled it off!

Something Bloody This Way Comes

"MacBeth" at the Lyceum Theatre, April 1, 2008

(Photo: Manuel Harlan)

Transferring to Broadway after a sold-out run at the Brooklyn Academy of Music last month, this British import has lodged at the Lyceum for a limited run.

With Patrick Stewart in the title role, it's no wonder the attraction to this unusual production. The plot is still a bit stupefying in operatic proportions, and Rupert Goold's placement in a quasi-Stalinist era kitchen doesn't really add much for me.

Mr. Stewart gets to play quite a bizarre range of moods, from fearful and hesitant before his ascent to the Scottish throne, to an almost Caligula-like impetuousness. In the end, he's so resigned to his fate and such a victim of bad luck that he can't even kill himself.

I found Kate Fleetwood's Lady MacBeth to be the more interesting interpretation. At her first entrance, she's young and glamorous, as well as a power hungry climber, pushing her husband well beyond his comfort and, likely, his sense of right and wrong to his first act of assassinating the current King Duncan (Byron Jennings). Almost as quickly as the deed is done, she begins her disintegration into insanity. By the time we get through Banquo's ghostly appearance, she's well on her way to her very effective mad scene.

Other standouts include Christopher Patrick Nolan's porter, Seyton. Greasy and profane, he oozes foreshadows of MacBeth's fall that is yet to come. Michael Feast's MacDuff smacked a bit too detached in early scenes, but rose to the moment when he learns the fate of his wife and children.

I did like the treatment of the witches first as nurses, then as housemaids. The rap version of "Double Double Toil and Trouble" felt a bit more comic than might have been intended.

The staging also seemed to take on a totally different feel toward the end of the first act (Banquo's ghostly appearance). What had been relatively straightforward staging and use of the space before suddenly felt much more conceptual and abstract. Duncan's murder happens off-stage, then suddenly we get a very stylized murder of Banquo on a train. I hadn't remembered from senior English class that his murder lined up so closely with that of Rasputin (poisoned, stabbed and shot - the only act missing was dropping him in the river.).

Despite the pre-show hype, discount tickets seem to be readily available. It's worth the visit.

How Are Things in Irish Drama?

"Juno" presented by Encores! at New York City Center, March 30, 2008

Based on the 1926 play "Juno and the Paycock" by Sean O'Casey, this "Juno" is the musical adaptation by Joseph Stein (book) and Marc Blitzstein from 1959. With its dark tale of Irish struggles during the 1921 Irish Rebellion, it's not quite the happy-go-lucky Irish tale the art to the left might indicate.

Much more in the tradition of Irish drama, it follows the tale of Juno Boyle (Victoria Clark) and her family. Her ne'er-do-well husband Captain Jack (Conrad John Schuck) falls victim to Irish stereotype as does his sidekick Joxer Daly (Dermot Crowley), allergic to work and overly fond of drink. Daughter Mary (Celia Keenan-Bolger) longs for a better life than the one Jerry Devine (Michael Arden) might provide. Son Johnny (Tyler Hanes) lost his arm during the rebellion and can't seem to get any focus on where his life may lead. His best friend Robbie Tancred (Kurt Froman) is killed at the outset of the story, the result of a betrayal.

With unemployment rampant and a recalcitrant husband, a distracted daughter and an injured son, Juno's luck appears to change when an English lawyer, Charlie Bentham (Clarke Thorell) arrives bearing news of a dead cousin of Capt. Jack's and a sizable inheritance. Mary is immediately smitten and Capt. Jack starts the words land in his ears. Meanwhile, rebellion forces are snooping around looking for the one who betrayed Robbie (duh, guess who!).

And you can guess what happens with the inheritance and the lawyer.

As the worn and haggard Juno, Ms. Clark sings as beautifully as ever. She shows a genuine bond with her children, but never really showed why she let Capt. Jack continue to hang around without contributing to the household. Her madrigal duet with Ms. Keenan-Bolger, Bird Upon the Tree, stopped the show (or as close as anything that evening might have). Ms. Keenan-Bolger's Mary showed me precisely why she was originally cast as Clara in "The Light in the Piazza" as well as why the role was later recast with Kelli O'Hara. Her soprano voice effectively portrayed the young woman who longs for more.

Mr. Schuck's Capt. Jack staggers, but never really lands on his character. As brother Johnny, Mr. Hanes makes a particularly powerful turn in the Act II ballet (talk about dancing with one arm tied behind your back).

Messrs. Stein and Blitzstein also give us a kind of Greek chorus with Mr. Madigan, Mrs. Coyne, Mrs. Brady and Miss Quinn - a quartet that reminded me of the crones from Boublil and Shonberg's Martin Guerre - providing a bit of humorous relief and various crossovers.

Irish director Garry Hynes, known for award-winning work with Irish drama captures the book scenes with the gravitas and sense of hopelessness one might expect. Unfortunately, this doesn't extend quite so successfully to the songs.

Warren Carlyle's choreography in the Act II ballet is the highlight of the performance. I'd have been happy to cut directly to the ballet from the madrigal and called it a night.

Mr. Blitzstein's remarkably modern score captures the darkness of the subject matter, flavored with Irish inflections. Given the way the songs are packed together, I can't help but wonder why he and Mr. Stein didn't go ahead and make the piece entirely sung-through.

The original only ran 16 performances in 1959. In a year that included "The Sound of Music," "Fiorello!," "Gypsy," "Once Upon a Mattress," "The Most Happy Fella," "Flower Drum Song" and "Redhead," there wasn't much room for a dark horse like "Juno." It's one I'm glad to have seen, but don't think I need to see again. Thanks to Encores! for providing this kind of programming.

O Elvis, Where Art Thou?

"Cry-Baby" at the Marquis Theatre, March 29, 2008

(Photo: Kevin Berne)

Following the Mel Brooks' money trail, John Waters has gotten more involved in the Broadway adaptation of his 1991 film of the same name, than he did with 2003's "Hairspray."

Book writer Thomas Meehan (along with Mark O'Donnell) has managed to avoid the trap he fell into earlier this season with "Young Frankenstein," trying to "formulize" Mr. Brooks' film a la "The Producers." It didn't work then and unfortunately, he not much more successful here. The story feels like a poor man's "Grease" (the original stage production, not the movie) - nice girl falls for the boy from the wrong side of the tracks. There's a nod or two back to Mr. Waters' original with subplots of defamed and executed parents by the sin of omission, and a sociopath-etic stalker. If you're looking for a good 1950's-style musical, you were better off at the now-closed "All Shook Up."

The score, by David Javerbaum and Adam Schlesinger, runs the gamut from Elvis Presley to Jerry Lee Lewis, with an occasional character stop at Perry Como. (It sounds like they've snitched Mr. Sondheim's rhyming dictionary, too, but not the good one he uses now.)

Leading the two-dimensional character charge is the inimitable Harriet Harris as Mrs. Vernon-Williams, the town society grand dame who is raising her granddaughter Sandy Allison (Elizabeth Stanley) after her parents died. Ms. Harris puts Scott Pask's plastic set to the test as she gnaws her way through the show. It's too bad Messrs. Javerbaum and Schlesinger didn't take the time to put her songs in keys that suit her vocal range. It's rather a waste of a remarkable talent.

Ms. Stanley, who gave such a sweet performance as April in last year's revival of "Company" makes all the motions of her leading role. Hopefully she'll get past the deer-in-the-headlights look which remains despite the three weeks of previews she already has under her belt (and has another month to go).

Her Danny Cry-Baby, James Snyder matches Ms. Stanley's look, singing and dancing at a level that would make any American Idol contestant look over his shoulder. If he can find some character to bring along with the two of the required three talents that this leading role requires, he could be on his way to an impressive performing career.

Alli Mauzey gets to have the most fun as Lenora, the psycho-chick in love with Danny Cry-Baby. Her "Screw Loose" is one of the cuter moments in the show.

The ultimate selling point for this show is Rob Ashford's choreography. His dancers shake, rattle and roll with the best of them. Director Mark Brokaw keeps things apace, never letting things slow down long enough to really get to know a character.

Catherine Zuber has pulled some of the nicer pieces she didn't use in "The Light in the Piazza" for the "nice girls," but she does have some fun with the trashy girls (and I loved the lace up stiletto pumps on the female jail guards). Mr. Pask seems to have phoned this design in taking a page from David Rockwell's look recently seen in "Legally Blonde" and to a lesser extent, "Dirty Rotten Scoundrels." I must say I'm a little disappointed based on his previous work in shows like "The Pillowman," "The Lieutenant of Inishmore," "The Coast of Utopia," and "Take Me Out."

It is a high energy show, much like the less-appealing "Legally Blonde" and should prove once again that you can't underestimate the lack of intelligence of the Broadway tourist.

Melting Down the Nuclear Family

"The American Dream" and "The Sandbox" at the Cherry Lane Theatre, March 27, 2008

Under the direction of the author, these two one-act plays appear to be the first time Mr. Albee revisited a previous play to write something of a prequel. He did this recently with the successful "Peter and Jerry" adding "Homelife" as a prequel to "Zoo Story."

There's not quite the same direct connection here, but we do get two visits with Mommy (Judith Ivey), Daddy (George Bartenieff) and Grandma (Lois Markle). In "The American Dream," Mommy and Daddy are waiting on a visitor, though they're not quite sure whom or why. Mrs. Barker (Kathleen Butler) shows up, also unsure as to why she's there. Finally Grandma tells Mrs. Barker a sordid tale of an infant boy whose adoptive parents mutilate and ultimately kill. No sooner is the story ended that the doorbell rings at the arrival of a tall, handsome and muscular Young Man (Harmon Walsh). He tells his own tale of emptiness, pain and the loss of his twin brother at birth, with events that match up to the torture of the boy Grandma talked about. Grandma uses the young man as an opportunity to escape the bickering, sniping and threats of calling "the van man." Mommy, Daddy and Mrs. Barker discover the Young Man in their living room. Mommy is immediately (if pruriently) attracted to the Young Man, finding something very familiar about him as she flirts. The act ends before revealing any more.

"The Sandbox" opens on a beach where The (very muscular) Young Man (Jesse Williams) speedo-clad this time, stands slowly waving his arms. Mommy and Daddy enter, looking for the right spot to deposit Grandma. It seems Grandma has lived well beyond her usefulness and they seek a convenient spot to facilitate her demise. Daddy carries her in as she squawks and squeals like an infant. Once placed in the sandbox, Mommy brings on The Musician (Daniel Shevlin) to accompany the proceedings on the cello. It gets late, so Mommy and Daddy leave. Grandma then engages The Young Man in conversation, learning that he's been hired to play the role of the angel of death.

Ms. Ivey is a most overbearing, self-centered and obnoxious Mommy, manipulating and intimidating everyone in her path. This Mommy may hear, but rarely listens unless it concerns her own wants.

In Daddy, Mr. Bartenieff is a mouse of a milquetoast, befuddled and more concerned for calmness than clarity.

Of the Young Men offered, Mr. Williams is the more successful of the two. The very handsome Mr. Walsh comes across a bit self-conscious and ill at ease with Mr. Albee's dialogue. Mr. Williams is afforded a bit more leeway with the overt transparency of his purpose on stage.

Ms. Markle's Grandma is the only character who is afforded more than two dimensions. Writhing under the mental torture of her daughter's charity (not that she'd ever be allowed to forget that), hers is the only voice of normalcy among the surrounding navel-gazers.

Having seen Arthur Laurent's direction of "Gypsy" and now Mr. Albee's direction of his own work, I find a similar economy of effort, basic and straightforward, generally allowing the actor to make his/her own way through the role. As with Pinter, it seems that Mr. Albee is also an "actor's playwright." Finding meaningful motivation and subtext amid the absurd plots/scenarios must provide a great and exciting challenge for an actor.

As the author, Mr. Albee has created a scenario he would go on to explore from many different directions, that of dysfunctional family groups and murky stories of children from such unions. I could see a bit of "...Virginia Woolf's" Martha and George in some of Mommy and Daddy's interactions, as well as the unseen child from that play. Many have already discussed the impact of Mr. Albee's own adoptive parents on his writing. I won't attempt further analysis here.

Neil Patel's basic sets and Nicole Pearce's lights neither distract or make significant contribution to the proceedings. Carrie Robbins' costumes are equally serviceable, if unremarkable (though what was up with that poorly attached lace collar/shawl on Grandma's dress and her dreadful shoes?)

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.

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.