The Old Friends

"The Old Friends" at The Pershing Square Signature Center, October 17, 2013

(Photo by Joan Marcus)

Horton Foote was a prolific playwright.  The Old Friends is actually a sequel to his second full-length play, Only the Heart first produced in 1942.  It took nearly 20 years to get the first exploratory production of TOF, and another 20 before Signature Theatre produced a reading.  This 2002 event inspired Mr. Foote to write the version currently on stage at the Signature.

I would love to say that this "new" work from the late Mr. Foote rises as a crowning achievement on a lifetime of good work.  Sometimes, there are reasons a play takes so long to make it to the stage.  Renowned playwrights from Shakespeare to Tennessee Williams wrote plays late in their careers that failed to achieve the same level of mastery as works form their primes (Cymbeline, anyone?).

Nonetheless, TOF tells us of the Borden/Prices and their titular old friends Gertrude (Betty Buckley) and Gaynor Ratliff and his brother Howard (Cotter Smith).  Gaynor has mercifully died before the play begins and escapes the indignities both caused and suffered by his now filthy rich widow and the almost-as-well-off Borden-Prices.  Also dead as the play begins, is Sybil's (Hallie Foote) husband Hugo who has left her penniless, much like her mother-in-law Mamie Borden (Lois Smith). 

Sybil's sister-in-law Julia (Veanne Cox) and her husband Albert Price (Adam LeFevre) have grudgingly taken Mamie in after forcing her to sign over her remaining assets.  Sybil and her husband had planned to retire nearby, but with him gone and leaving her destitute, Julia is less than pleased with the prospect of supporting another widow. Toss into the mix a cloudy history of Sybil's father losing everything to Getrude's father, and selling the rest to Julia's father and you've got a Russian tragedy in the making.  

My biggest complaint is with the play's uneven story-telling.  Characters get dragged down with paragraphs of dull exposition, much of it repeated by various characters.  It's only when the action picks up with the plot at hand that things get interesting.

The cast is excellent.  Ms. Buckley dominates as the brutish, selfish Gertrude. Her rants are the highlights of the evening, the funniest of which is one ending in the mating call of the southern belle, "I'm drunk!"  Ms. Smith matches that bravura with her usual understated intensity (though she did seem a bit shaky on her lines in a couple of spots).  Ms. Foote's Sybil strives for a quiet dignity, but sometimes comes off as merely mousy.  Mr. Smith's Howard spends most of the play as kind to the point of spineless.  Even when he finally stands up for himself, Howard remains an apology of a role.

Director Michael Wilson keeps things apace, but probably could have cut 10-15 minutes in redundant exposition.  Production values are excellent, particularly David C. Woolard's costumes.

The Old Friends closed on October 20 after a two-week extension.

A Time to Kill

"A Time to Kill"  at John Golden Theatre,October 10, 2103

(photo: Carol Rosegg)

The prodigious author John Grisham has entered a third medium to recycle his work with Rupert Holmes' adaptation of his first novel "A Time to Kill" now running on the Great White Way.  I've been a Grisham fan for many years, getting hooked first with "The Firm," which led me to "A Time..." and I've read almost everything he's written since then, good, bad or indifferent.  I like that his work is an easy read, sometimes a little pulpy, but generally perfect for an afternoon on the beach or a couple of hours on an airplane.

Wisely, Mr. Grisham has turned over the adaptation of his work to someone who has strong experience in writing for the theatre.  He gets off scott-free if the effort tanks, or gets all the glory for creating the source if the play becomes a hit.  Don't forget, he's a lawyer at heart and understands how to balance the risk/reward equation.
 
For him, that's a good thing. 

This tepid attempt at a pot-boiler follows Mr. Grisham's plot, but fails to capture the high stakes of a white Mississippi lawyer Jake Brigance (Sebastian Arcelus) defending Carl Lee Hailey (John Douglas Thompson) a black man for the murder of two white men who brutally and viciously raped  and beat his daughter in the 1980s.  A sheriff's deputy was also injured in the cross-fire, an unintended casualty in this act of vengeance.

The cast is widely uneven with Patrick Page giving the strongest performance as the slick and greasy prosecuting attorney coming in from the state capitol to helm the state's case.  Mr. Arcelus has his moments, but is serviceable at best.

It seems the producers have also hedged their bets by casting Fred Thompson and Tom Skerritt in supporting roles.  At the preview performance I saw, neither had adjusted their acting for stage, instead giving rather internal performances as though a camera were taking close-ups. Mr. Thompson rushed his lines to the point of being unintelligible, where Mr. Skerritt underplayed even the most dramatic moments. It's a shame, given the inherent theatricality of their roles as the trial judge and Jake's disgraced former law partner. Ashley Williams as Ellen Roark, the senior law student looking to jump start her own career with a high-profile case, also arrives with an extensive TV resume and fails to find the balance between her character's intelligence and lack of experience.  She comes across as much too old and jaded, ignoring the southern blue-blood heritage of Ellen's Ole Miss education.

Director Ethan McSweeny struggles to morph a period piece into contemporary relevance, borrowing noisy musical transitions from British political works like Enron and more recently, The Machine.  An over-worked set by James Noone with a completely superfluous turntable might be the cause.  Mr. Noone also undermines what should have been a dignified courtroom setting with a barn-like structure - talk about silk purse.  Costumer David C. Woolard also misfires with a significant lack of seersucker, only giving that to the character least likely to wear it during the Reagan-era.

In the end, I still don't understand why this story needed to be told onstage.  Mr. Grisham's writing lends itself much better to film and even then, there are better choices to adapt his work to the stage.  A Time to Kill is not a bad book. It's also not another To Kill a Mockingbird, missing its inherent theatricality of time and place to work well in a live performance.

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

Cirque du Soleil - "Quidam"

"Quidam" presented by Cirque du Soleil at Barclay's Center, July 25, 2013

In a tentless production, Cirque returns to NY with the long-running Quidam for a short stint at the Barclay's Center in Brooklyn.

Quidam, which means "anonymous passerby" originally opened in 1996, converting to its current format for arena staging in 2010 (thanks, Wikipedia!).

When I first discovered Cirque years ago, I was a huge fan, anxiously waiting to find out when the next tour would be performing nearby.  After the third or fourth production, however, my enthusiasm waned.  Perhaps the novelty had worn off compared to the ticket price.

The various acts are ostensibly connected with a through-line story of Zoe, "...bored yet curious, and she longs for the fun and excitement she believes lie just beyond her reach."  Based on how the ensemble moves from white-hooded oompa-loompas to dirty ragged eastern Euro ghetto residents, I failed to connect the fun and excitement.  The most intriguing aspect I found was the aerial rigging system created for this arena version which allows performers to fly in from behind the stage, or remain suspended for extended periods of time.

Of the elements, the ensemble acts fared best in an impressive double-dutch rope jumping segment early in Act 1, and a tumbling/balancing/acrobatic piece at the end described as a Banquine.  The hand balancing, aerial silks, aerial ropes and hoops acts were all merely interesting.  Even the balancing pair, stripped to their skivvies lacked enough sensuality to raise it to truly remarkable.  More disappointing was the clown routine, which I'm pretty sure I had seen in another Cirque production along the way.

On a related note, this was my first visit to the Barclay's Center.  Subway transportation to and from is particularly easy and the facility is quite impressive.

This stop on the tour ends on July 28. 

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.

The Silver Cord

"The Silver Cord" presented by  Peccadillo Theater Company at the Theatre at St. Clement's, June 8, 2013

(Photo by Carol Rosegg)

A tradition of restorative productions is a sometimes unwieldy proposition.  Peccadillo Theater Company continues its residence at the Theatre at St. Clement's with a revival of the 1927 The Silver Cord by Sidney Howard (who won a posthumous Oscar for the screenplay of "Gone With The Wind).  The Silver Cord was something of a hit in its original run, telling the story of how a sociopathic moher interferes in the relationships of her two sons. 
There are obvious factors to support its revival: small cast, minimal costume and set changes.  Before staging this full production, Peccadillo conducted a reading of the play with Charles Busch as the mother. 

If only they had been able to sign him for this run.

Mrs. Phelps' (Dale Carman) two sons David (Thomas Matthew Kelley) and Robert (Wilson Bridges) dote on and adore their widowed mother, who makes the Dance Moms look like Donna Reed.  Robert is engaged to Hester (Caroline Kaplan) and David has already married Christina (Victoria Mack) during his European grand tour.  David arrives home shortly after his honeymoon and mother is out to maintain her claim of dominance over both sons' lives and relationships.  What ensues is a series of uncomfortable manipulation and self-aggrandizing ploys to drive the new women from their lives.

Despite a lovely, if awkward set (Harry Feiner), the ill-humored melodrama stumbles through two and a half hours of actors desperate to make sense of this creaky and uncomfortable play. 
Some find more success than others.  Costume designer Gail Cooper-Hecht manages to evoke the era on a typical off-Broadway tight budget.

Ms. Mack's Christina achieves a level of balance between the stilted language and manner of the period, and any relevance one might find in the dated situation. Ms. Kaplan's Hester also maintains a level of humanity as she sees herself becoming the forerunner of the Stepford Wives.  Messrs. Kelley and Bridges don't find much beyond the two-dimensional pages from which their characters spring.  Mr. Carman fails to channel his inner Lady Bracknell and leaves us with a Mrs. Phelps who is annoying at best, and forgettable at worst.

One can find some blame for all this in the dated and apparently untouched script from Mr. Howard.  The balance of blame falls to director Dan Wackerman for not bringing any sense of relevance to the dysfunctional family presented.  I won't dignify the scene in David's bedroom with any further description than to say, "ugh."

The Silver Cord runs through July 14.  Tickets are available here.

2013 Tony Awards - my predictions

Just under the wire, here are my predictions:

Best Play *	Vanya and Sonia and Masha and Spike
Best Musical *	Matilda The Musical
Best Revival of a Play *	The Trip to Bountiful
Best Revival of a Musical *	Rodgers + Hammerstein's Cinderella
Best Book of a Musical *	Kinky Boots - Harvey Fierstein
Best Original Score (Music and/or Lyrics) *	Kinky Boots - Music and Lyrics: Cyndi Lauper
Best Performance by an Actor in a Leading Role in a Play *	Tom Hanks - Lucky Guy
Best Performance by an Actress in a Leading Role in a Play *	Cicely Tyson - The Trip to Bountiful
Best Performance by an Actor in a Leading Role in a Musical *	Billy Porter - Kinky Boots
Best Performance by an Actress in a Leading Role in a Musical *	Stephanie J. Block - The Mystery of Edwin Drood
Best Performance by an Actor in a Featured Role in a Play *	Tony Shalhoub- Golden Boy
Best Performance by an Actress in a Featured Role in a Play *	Judith Light - The Assembled Parties
Best Performance by an Actor in a Featured Role in a Musical *	Gabriel Ebert - Matilda The Musical
Best Performance by an Actress in a Featured Role in a Musical *	Andrea Martin - Pippin
Best Direction of a Play *	Nicholas Martin - Vanya and Sonia and Masha and Spike
Best Direction of a Musical *	Matthew Warchus - Matilda The Musical
Best Choreography *	Peter Darling - Matilda The Musical
Best Orchestrations *	Danny Troob - Rodgers + Hammerstein's Cinderella
Best Scenic Design of a Play *	John Lee Beatty - The Nance
Best Scenic Design of a Musical *	Rob Howell- Matilda The Musical
Best Costume Design of a Play *	Ann Roth - The Nance
Best Costume Design of a Musical *	William Ivey Long - Rodgers + Hammerstein's Cinderella
Best Lighting Design of a Play *	Donald Holder - Golden Boy
Best Lighting Design of a Musical *	Hugh Vanstone - Matilda The Musical
Best Sound Design of a Play *	Leon Rothenberg - The Nance
Best Sound Design of a Musical *	Peter Hylenski - Motown The Musical

Macbeth

The National Theater of Scotland's production of "Macbeth" at Ethel Barrymore Theatre, May 20, 2013

Alan Cumming returns to the Great White Way, reprising his one-man production of the Scottish Play following last summer's visit during the Lincoln Center Festival.

Under the direction of Once director John Tiffany and Andrew Goldberg, it's another riff on Marat/Sade with inmates putting on the play.  Mr. Cumming appears to have arrived after an undisclosed traumatic event, bloodied and confused.  His caretakers (Jenny Sterlin and Brendan Titley) tend his wounds, collect his clothes and tissue from a cheek swab and under his fingernails.  It's something of a next step compared to the 2008 Broadway revival with Patrick Stewart perhaps, but I'm equally unconvinced of this concept as well.

For a festival production, it makes a certain amount of sense, a bravura performance carried by a solo actor for a specific occasion.  It's a bit of a stretch to liken that to a limited run on Broadway, in my humble opinion.  Had this been a smash with audiences and critics, one could count on seeing it extend.  It is selling relatively well, but at a strong discount.

Nonetheless, the upside is that the tale is told in an intermissionless hour and 45 minutes.  Once the audience attunes to Mr. Cumming's variations in accent and transitions, the salient elements of the plot come through.  He bounds about the asylum basement ward, collecting conveniently placed flotsam and jetsam to assist: an upholstered wheelchair for the king's throne, a filthy and tattered baby doll as Malcolm, a ragged blanket for a uniform.  The caretakers fill in for minor characters on occasion. His multiple characterizations do find separation, but most merely float on the surface.  The end result is a shout of "watch me ACT!" Fans of Mr. Cumming will be enthralled.

Messrs Tiffany and Goldberg have employed some clever use of surveillance cameras and video screens, particularly to convey Macbeth's visions of Banquo's ghost. Fans of Mr. Cumming will be enthralled.

Macbeth runs through July 14.  Tickets available here.

WORKING

"WORKING" presented by Prospect Theater Company at 59E59 Theatre, December 12, 2012

(photo: Richard Termine)

Prospect Theater Company presents a new re-working of the 1978 musical based on Studs Terkel's book, with two new songs by Lin-Manuel Miranda. 

The streamlined cast of six replaces the seventeen from the original Broadway production, slicing and dicing the remains into a tight 65 intermissionless minutes. 

Director Gordon Greenberg has assembled a talented and capable cast to portray the 25 stories, including Marie-France Arcilla, Joe Cassidy, Donna Lynne Champlin, Jay Armstrong Johnson, Nehal Joshi and Kenita R. Miller. 

Some moments stand out more than others: Ms. Champlin's Rose Hoffman, an aging and out of step teacher who sadly reflects on the degradation of respect for her role in the lives of children over her 45 years in the classroom with Nobody Tells Me How.  She gives another clever moment as the waitress Delores Dante in It's an Art responding to the question, "just a waitress?"  Mr. Johnson gets a nice turn as well as pervy UPS delivery man, Conrad Swibel.
The juxtaposition of Ms. Miller's hooker to Ms. Champlin's high society fundraiser points up how the two roles are more similar than different.

My father always said, "if it were fun, they wouldn't call it 'work'," and for the most part he was right.  Still, of the 25 working stories, there are remarkably few that really expressed any joy.  As much time as we spend working, an uplifting evening of work stories and songs would have more appeal.

WORKING runs through December 30.  Tickets here.

Jackie Hoffman's A Chanukah Charol

"Jackie Hoffman's A Chanukah Charol" at New World Stages, December 8, 2012

Jackie Hoffman's kvetching continues with her new show at New World Stages.  "A Chanukah Charol" is her riff on Patrick Stewart's one-man "A Christmas Carol" retelling her trials and tribulations as an actress in New York.

The mood starts with pre-curtain music of a klezmer band playing Christmas carols. She opens by portraying Mr. Stewart as the narrator of her tale, and she gives a pretty good impersonation. 

Then, she moves into a mix of her ongoing existential career crisis that she's not Victoria Clark or Gertrude Lawrence, along with some new reminiscences of holiday gatherings with her family.  Her Jacob Marley is Molly Picon, telling of incipient visits from the requisite three ghosts, past present and future. The cleverest turn of the three is using Shelley Winters as the Ghost of Chanukah Present.

I've seen just about all of her annual appearances at Joe's Pub and have to say that as much as I liked the concept of this show, I missed her songs that have been part of her cabaret series.  At 75 minutes, it's a small commitment for a bit of fun, Hoffman-style.

"A Chanukah Charol" runs through December 29.  Tickets here.