A COOL DIP IN THE BARREN SAHARAN CRICKBy Kia CorthronDirected by Chay Yew
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Order by March 28 with code CDGR and tickets are only· $30 (reg. $50) for all performances through March 21st· $40 (reg. $50) for all performances March 23 – April 11HOW TO ORDER: Order online at www.playwrightshorizons.org. Use code CDGR.Call Ticket Central at (212) 279-4200 (Noon-8pm daily)
Saturday, March 20, 2010
Playwrights Horizons Discount
Sunday, March 14, 2010
Looped
"Looped" at the Lyceum Theatre, February 24, 2010
Tallulah Bankhead is the center of Matthew Lombardo's play about a recording session to correct one line from Ms. Bankhead's final movie as it goes through its final editing stage in 1965.
At this late stage in her life (Ms. Bankhead died in 1968), she has ruined her career with drugs, alcohol and sex. Her film has all signs of being a flop and the creative team has all but abandoned the project. Left to handle the recording session is the film editor Danny (Brian Hutchison). Tallulah (Valerie Harper) shows up several hours late and already drunk. What follows is two acts of cat and mouse as Tallulah chases Danny's secrets down and drags them out. Along the way are a multitude of one-liners and quips, some of which are pretty funny, but eventually they get very predictable.
As Tallulah, Ms. Harper achieves a respectable impersonation, but doesn't seem to have the material to really reveal anything about her that we didn't already know. She swears like a sailor, drinks like a fish and smokes like a chimney, yet still sees her only value in her sexuality, which she foists like a weapon.
Mr. Hutchison suffers under his poorly written role, having to play straight man setting up the endless bon mots for Ms. Harper. The back story Mr. Lombardo has created for Steve is particularly contrived, with a couple of revelations telegraphed early on. As Steve, the sound engineer, Michael Mulheren floats through with little to do other than set up a few of the jokes along the way.
Mr. Lombardo based this play on the tape from the actual recording session, some 45 minutes' worth. He seems to have reached a little too far in stretching the piece out into two full acts. The flashback of Tallulah's failed and only performance of "A Streetcar Named Desire" in Florida takes up a good bit of time to poor effect. Sadly, he reverts Tallulah to no more than a wannabe Mame Dennis as she wanders about the pieces of Steve's life she has tossed to the floor. The only line missing as she attempts to pull him back together is "Life is a banquet, and most poor suckers are starving to death."
Director Rob Ruggiero keeps things moving, but can't get the performances to rise much above the two-dimensional writing. There are some laughs to be found, but the piece is not really ready for Broadway.
Tallulah Bankhead is the center of Matthew Lombardo's play about a recording session to correct one line from Ms. Bankhead's final movie as it goes through its final editing stage in 1965.
At this late stage in her life (Ms. Bankhead died in 1968), she has ruined her career with drugs, alcohol and sex. Her film has all signs of being a flop and the creative team has all but abandoned the project. Left to handle the recording session is the film editor Danny (Brian Hutchison). Tallulah (Valerie Harper) shows up several hours late and already drunk. What follows is two acts of cat and mouse as Tallulah chases Danny's secrets down and drags them out. Along the way are a multitude of one-liners and quips, some of which are pretty funny, but eventually they get very predictable.
As Tallulah, Ms. Harper achieves a respectable impersonation, but doesn't seem to have the material to really reveal anything about her that we didn't already know. She swears like a sailor, drinks like a fish and smokes like a chimney, yet still sees her only value in her sexuality, which she foists like a weapon.
Mr. Hutchison suffers under his poorly written role, having to play straight man setting up the endless bon mots for Ms. Harper. The back story Mr. Lombardo has created for Steve is particularly contrived, with a couple of revelations telegraphed early on. As Steve, the sound engineer, Michael Mulheren floats through with little to do other than set up a few of the jokes along the way.
Mr. Lombardo based this play on the tape from the actual recording session, some 45 minutes' worth. He seems to have reached a little too far in stretching the piece out into two full acts. The flashback of Tallulah's failed and only performance of "A Streetcar Named Desire" in Florida takes up a good bit of time to poor effect. Sadly, he reverts Tallulah to no more than a wannabe Mame Dennis as she wanders about the pieces of Steve's life she has tossed to the floor. The only line missing as she attempts to pull him back together is "Life is a banquet, and most poor suckers are starving to death."
Director Rob Ruggiero keeps things moving, but can't get the performances to rise much above the two-dimensional writing. There are some laughs to be found, but the piece is not really ready for Broadway.
Labels:
Broadway,
Lyceum Theatre,
Matthew Lombardo,
play,
Rob Ruggiero
Monday, March 08, 2010
The Pride
"The Pride" presented by MCC Theater at the Lucille Lortel Theatre, February 28, 2010
(photo: Joan Marcus)
The Pride tells two stories of Oliver, Philip and Sylvia, the first set in 1958 London and the second fifty years later. The play opens in the earlier time when Sylvia (Andrea Riseborough) has invited her boss, Oliver (Ben Whishaw) over for drinks with her husband Philip (Hugh Dancy) before dinner out. Tension builds quickly as Philip finds himself attracted to the not-so-closeted Oliver. Jump-shift to 2008 and the triangle has shifted. Oliver (sharing only the same name as his 1958 counterpart) is not dealing well with his recent break-up with Philip, the two of whom were introduced by mutual friend Sylvia.
Each character is full of issues in both periods, creating a compelling set of tales. Overwrought with guilt, 1958 Philip breaks off the brief, if torrid affair with Oliver and longs for "normalcy" in his life, seeking psychiatric help, including aversion therapy to overcome his sexual orientation. 2008 Philip has also broken off the relationship with his Oliver over the latter's compulsion for anonymous sex. Sylvia stands by in relative support in both eras, ultimately setting 1958 Philip free after coming to terms with her own denial.
The stories aren't exactly parallels, but both spend a little time at the self-hatred table. 1958 Philip can't come to terms with his sexuality, longing to make it go away. 2008 Oliver's version comes in the form of his inability to reconcile his promiscuity.
The performances are fairly even, but it is Mr. Whishaw who has the meatiest roles. His hopeful hopelessness as 1958 Oliver is tender and touchingly vulnerable. His inner struggle as 2008 Oliver is more complex, flailing between pining for the lost love of his life and succumbing to his desires. Mr. Dancy's Philips are significantly more reserved, one more painfully so than the other. Ms. Riseborough's Sylvia's separate the most, proper and withheld in 1958 and a total free spirit in 2008. Picking up the most fun is Adam James, playing an assortment of supporting roles, from a hilarious turn as a role-playing rent-boy, to a psychiatrist bordering on the sadistic.
Director Joe Mantello seems to be back on his stride in this play, using clever and thoughtful staging, almost choreographing the overlaps of period shifts from scene to scene. He elicits strong performances with a nice focus on character. David Zinn's functional set serves both periods nicely, avoiding any potential anachronism. Paul Gallo's lighting evokes an effective noir-ish sensibility to the earlier period.
The show runs through March 20.
(photo: Joan Marcus)
The Pride tells two stories of Oliver, Philip and Sylvia, the first set in 1958 London and the second fifty years later. The play opens in the earlier time when Sylvia (Andrea Riseborough) has invited her boss, Oliver (Ben Whishaw) over for drinks with her husband Philip (Hugh Dancy) before dinner out. Tension builds quickly as Philip finds himself attracted to the not-so-closeted Oliver. Jump-shift to 2008 and the triangle has shifted. Oliver (sharing only the same name as his 1958 counterpart) is not dealing well with his recent break-up with Philip, the two of whom were introduced by mutual friend Sylvia.
Each character is full of issues in both periods, creating a compelling set of tales. Overwrought with guilt, 1958 Philip breaks off the brief, if torrid affair with Oliver and longs for "normalcy" in his life, seeking psychiatric help, including aversion therapy to overcome his sexual orientation. 2008 Philip has also broken off the relationship with his Oliver over the latter's compulsion for anonymous sex. Sylvia stands by in relative support in both eras, ultimately setting 1958 Philip free after coming to terms with her own denial.
The stories aren't exactly parallels, but both spend a little time at the self-hatred table. 1958 Philip can't come to terms with his sexuality, longing to make it go away. 2008 Oliver's version comes in the form of his inability to reconcile his promiscuity.
The performances are fairly even, but it is Mr. Whishaw who has the meatiest roles. His hopeful hopelessness as 1958 Oliver is tender and touchingly vulnerable. His inner struggle as 2008 Oliver is more complex, flailing between pining for the lost love of his life and succumbing to his desires. Mr. Dancy's Philips are significantly more reserved, one more painfully so than the other. Ms. Riseborough's Sylvia's separate the most, proper and withheld in 1958 and a total free spirit in 2008. Picking up the most fun is Adam James, playing an assortment of supporting roles, from a hilarious turn as a role-playing rent-boy, to a psychiatrist bordering on the sadistic.
Director Joe Mantello seems to be back on his stride in this play, using clever and thoughtful staging, almost choreographing the overlaps of period shifts from scene to scene. He elicits strong performances with a nice focus on character. David Zinn's functional set serves both periods nicely, avoiding any potential anachronism. Paul Gallo's lighting evokes an effective noir-ish sensibility to the earlier period.
The show runs through March 20.
Saturday, March 06, 2010
Race
"Race" at the Ethel Barrymore Theatre, February 25, 2010
(Photo by Robert J. Saferstein)
David Mamet's latest effort in provocation is now running on Broadway in the form of Race. The story swirls around the law firm hired by a very rich, white man to defend him against charges of rape, leveled by an African American woman.
The defendant, Charles (Richard Thomas) has already fired his attorney once and is shopping his case around. Law partners Jack Lawson (James Spader) and Henry Brown (David Alan Grier) get roped into taking the case when their clerk Susan (Kerry Washington) mistakenly gets copies of the indictment and police reports from the district attorney, constructively making them the attorneys of record before they've had a chance to actually make a decision on it. Mr. Mamet metes out plot twists and revelations a bit obviously at times, but manages to keep the tension high as the white and African American characters examine and expound upon their own views of race in contemporary society. Mr. Mamet has toned down the volume of f-bombs, but plugs in the n-word as a substitute.
Mr. Thomas plays Charles so simpy and passive that I fully expected one of the plot twists to be that Charles is gay. (he's not, btw) Beyond that, Mr. Thomas suffers from "Jasmine Guy Syndrome," his presence practically sucking all the energy out of the theatre as he makes his entrance. (so named by a similar situation in Richard Greenberg's The Violet Hour from which Miss Guy resigned due to "health issues" during previews in 2003).
As Susan, Ms. Washington wavers between capable and self-conscious. Sometimes she gets the "Mamet patter" and sometimes she doesn't. Mr. Grier fares better, but doesn't have much to do, other than prompt tension among the characters onstage with him.
It is Mr. Spader, making an impressive Broadway debut as Jack, who carries the weight of the evening. He certainly has experience playing a clever lawyer from his years on TV's "Boston Legal" and it shows. He also adapts well to the language and rhythm of Mr. Mamet's writing.
Santo Loquasto's law library spills the story forward on the raked stage, serviceably, if unexceptionally lighted by Brian MacDevitt.
It's a better entry to this year's play season than last fall's "Oleanna" but there are similarities to "Speed The Plow" which keep this play from feeling wholly original, particularly a woman in a subservient position who may or may not be working from her own agenda. Still, it's at least another new play, versus yet another revival.
(Photo by Robert J. Saferstein)
David Mamet's latest effort in provocation is now running on Broadway in the form of Race. The story swirls around the law firm hired by a very rich, white man to defend him against charges of rape, leveled by an African American woman.
The defendant, Charles (Richard Thomas) has already fired his attorney once and is shopping his case around. Law partners Jack Lawson (James Spader) and Henry Brown (David Alan Grier) get roped into taking the case when their clerk Susan (Kerry Washington) mistakenly gets copies of the indictment and police reports from the district attorney, constructively making them the attorneys of record before they've had a chance to actually make a decision on it. Mr. Mamet metes out plot twists and revelations a bit obviously at times, but manages to keep the tension high as the white and African American characters examine and expound upon their own views of race in contemporary society. Mr. Mamet has toned down the volume of f-bombs, but plugs in the n-word as a substitute.
Mr. Thomas plays Charles so simpy and passive that I fully expected one of the plot twists to be that Charles is gay. (he's not, btw) Beyond that, Mr. Thomas suffers from "Jasmine Guy Syndrome," his presence practically sucking all the energy out of the theatre as he makes his entrance. (so named by a similar situation in Richard Greenberg's The Violet Hour from which Miss Guy resigned due to "health issues" during previews in 2003).
As Susan, Ms. Washington wavers between capable and self-conscious. Sometimes she gets the "Mamet patter" and sometimes she doesn't. Mr. Grier fares better, but doesn't have much to do, other than prompt tension among the characters onstage with him.
It is Mr. Spader, making an impressive Broadway debut as Jack, who carries the weight of the evening. He certainly has experience playing a clever lawyer from his years on TV's "Boston Legal" and it shows. He also adapts well to the language and rhythm of Mr. Mamet's writing.
Santo Loquasto's law library spills the story forward on the raked stage, serviceably, if unexceptionally lighted by Brian MacDevitt.
It's a better entry to this year's play season than last fall's "Oleanna" but there are similarities to "Speed The Plow" which keep this play from feeling wholly original, particularly a woman in a subservient position who may or may not be working from her own agenda. Still, it's at least another new play, versus yet another revival.
Labels:
Broadway,
David Mamet,
Ethel Barrymore Theatre,
play
Thursday, February 25, 2010
Signs of Life
"Signs of Life" presented by Amas Musical Theatre at The Marjorie S. Dean Little Theater, February 21, 2010
(Photo: Joan Marcus)
The horrors of the Holocaust are again fodder for a new musical that explores the lives of the Jews sent to Terezin. Composer Joel Derfer sums it up as:
The story told is compelling, of 19 year old Lorelei (Patricia Noonan) studying art and discovering boys, whose life is tragically interrupted and forever changed by the Germans. Peter Ullian's book is functional, but does have a few burps here and there. One is when Lorelei, who has obviously met her love interest, Simon (Wilson Bridges), instead trades a dumpling to the pan-sexual cabaret star, Kurt (Jason Collins), for her first kiss.
Ms. Noonan makes a noble effort to carry the weight of the proceedings. She gets nice support from Mr. Collins, less from Mr. Bridges. Erika Amato as Berta Pluhar, a former Jew abandoned by her Christian husband sings well, but falls victim to poor direction and comes across as overplayed. Allen E. Read's Officer Heindel provides a short-lived glimpse of humanity behind the torture of the Nazis.
Director Jeremy Dobrish has staged the show for a much bigger house than one as intimately sized as the Deane Little Theater. From a clunky series of silhouette images at the opening (which looked more like lighting mistakes) to oversized emoting that might work in an 1500 seat Broadway house. He would have done better to rely on the strength of the score and the story instead of inflating the staging beyond the scope of the hall.
Alexis Distler's sets of stacked suitcases effectively provides the reminder of all the bags that were packed by the doomed to be hauled off to their deaths. Jennifer Caprio's costumes function well, as do Michael Gottlieb's lights.
The show runs through March 21.
(Photo: Joan Marcus)
The horrors of the Holocaust are again fodder for a new musical that explores the lives of the Jews sent to Terezin. Composer Joel Derfer sums it up as:
Signs of Life is the story of a young girl who comes of age in the Czech ghetto Terezin, rechristened Theresienstadt by the Nazis, who filled it with Jewish artists, musicians, and intellectuals and turned it into a propaganda tool. Once she and her friends and family realize what lies in store for them, they begin to discover that some truths might be worth dying for.As a freshman effort, Mr. Derfner shows promise with his score. His is a more heavily sung-through approach to story-telling, first explored with composers like Richard Rodgers, and more recently with Boublil & Schoenburg, and Adam Guettel. He hasn't mastered their finesse, but is on his way to finding his own musical voice.
The story told is compelling, of 19 year old Lorelei (Patricia Noonan) studying art and discovering boys, whose life is tragically interrupted and forever changed by the Germans. Peter Ullian's book is functional, but does have a few burps here and there. One is when Lorelei, who has obviously met her love interest, Simon (Wilson Bridges), instead trades a dumpling to the pan-sexual cabaret star, Kurt (Jason Collins), for her first kiss.
Ms. Noonan makes a noble effort to carry the weight of the proceedings. She gets nice support from Mr. Collins, less from Mr. Bridges. Erika Amato as Berta Pluhar, a former Jew abandoned by her Christian husband sings well, but falls victim to poor direction and comes across as overplayed. Allen E. Read's Officer Heindel provides a short-lived glimpse of humanity behind the torture of the Nazis.
Director Jeremy Dobrish has staged the show for a much bigger house than one as intimately sized as the Deane Little Theater. From a clunky series of silhouette images at the opening (which looked more like lighting mistakes) to oversized emoting that might work in an 1500 seat Broadway house. He would have done better to rely on the strength of the score and the story instead of inflating the staging beyond the scope of the hall.
Alexis Distler's sets of stacked suitcases effectively provides the reminder of all the bags that were packed by the doomed to be hauled off to their deaths. Jennifer Caprio's costumes function well, as do Michael Gottlieb's lights.
The show runs through March 21.
Labels:
Jeremy Dobrish,
Joel Derfner,
Musical,
Off-off-Broadway
Wednesday, February 24, 2010
Next Fall
"Next Fall" at The Helen Hayes Theatre, February 20, 2010
(Photo: Francesco Carrozzini)
Transferring from an Off-Broadway run last summer, Geoffrey Nauffts' play is a touching and provocative story of religion and homosexuality.
Working back and forth in time, we learn the tale of how Adam (Patrick Breen) and Luke (Patrick Heusinger) met, fell in love and struggled to work through the issues of Adam's agnosticism versus Luke's Christian faith. Since that's not enough, Adam is also roughly 20 years older than Luke, though emotionally they are much closer in age.
As the play opens, Luke has been hit by a car and is hospitalized in a coma. His divorced parents Arlene (Connie Ray) and Butch (Cotter Smith) have arrived along with Luke's boss Holly (Maddie Corman) and college friend Brandon (Sean Dugan). Adam arrives late, having been out of town for a class reunion.
Arlene and Buddy have instilled their faith in Luke, and still carry it openly, increasing the tension when Adam expresses his secular beliefs.
Mr. Nauffts has written a very intelligent story that actually manages to explore the issues of faith and science. Both sides get full measure to present their respective cases. The heart of the problem between Adam and Luke is that Adam doesn't understand why Luke can't see the missing logic of faith, where Luke doesn't understand why Adam can't take the leap and believe. During one of their arguments, Adam accuses Luke of loving God more than him. Luke doesn't respond. Without spoiling it, I have to say that I was a bit disappointed by the choice in the final scene.
Don't be mistaken, as somber as this may sound, there are plenty of laughs to be found. Mr. Nauffts has assembled a slew of one-liners and quips that keep the audience bright. While the parents are out of the room, Adam, Holly and Brandon are discussing how to handle his relationship with Luke, who hasn't come out to his family yet. Adam says, "You don't see me in a thong on a float, but I'm still a fag!"
Having seen The Boys in the Band within a few days of this show, it was interesting to see how the openly vicious self-hatred of that story has modulated only a little into a more quiet version. This is noted particularly in the character of Brandon, who can hardly bring himself to say out loud that he's only attracted to black men. Luke suffers similarly, praying for forgiveness after each time he and Adam are intimate. Luke is also afraid of his family's rejection, specifically that his father will cut him off from contact with his little brother. "Next fall" he says, "that's when he'll be off to college, and I'll tell them then. He'll be old enough to decide for himself."
In Arlene, Ms. Ray has managed to take hold of a Julie White character and truly make it her own. Arlene was a confused and unprepared young mother who ended up in prison for marijuana, leaving the care of Luke to his father, who remarried shortly thereafter and had another son. Ms. Ray enters like a tornado and takes control in a touching yet hilarious performance. Mr. Cotter's Butch is a father in denial, both of his son's sexual orientation and the severity of his condition. His emotion is palpable during a climactic scene in Act II.
Mr. Heusinger's Luke is earnest, hopeful and occasionally callow - appropriate for a young man who dropped out of law school to move to NYC to chase an acting dream. Mr. Breen's Adam does most of the heavy lifting in the play, balancing the feelings of Luke's family and friends against his own. When he's told he can't see Luke in ICU because he's not "family," you can see his heart drop in his chest. Ms. Corman, and Mr. Dugan get little to do, more than sit around suffering supportively over Luke.
Wilson Chin's set flexes easily into the various locations, hospital waiting room, Adam's apartment, a bench in the park, all service-ably lit by Jeff Croiter.
This is a powerful and emotional play, beautifully written, directed and acted. It's another one not to be missed.
It got a rare standing ovation from me.
(Photo: Francesco Carrozzini)
Transferring from an Off-Broadway run last summer, Geoffrey Nauffts' play is a touching and provocative story of religion and homosexuality.
Working back and forth in time, we learn the tale of how Adam (Patrick Breen) and Luke (Patrick Heusinger) met, fell in love and struggled to work through the issues of Adam's agnosticism versus Luke's Christian faith. Since that's not enough, Adam is also roughly 20 years older than Luke, though emotionally they are much closer in age.
As the play opens, Luke has been hit by a car and is hospitalized in a coma. His divorced parents Arlene (Connie Ray) and Butch (Cotter Smith) have arrived along with Luke's boss Holly (Maddie Corman) and college friend Brandon (Sean Dugan). Adam arrives late, having been out of town for a class reunion.
Arlene and Buddy have instilled their faith in Luke, and still carry it openly, increasing the tension when Adam expresses his secular beliefs.
Mr. Nauffts has written a very intelligent story that actually manages to explore the issues of faith and science. Both sides get full measure to present their respective cases. The heart of the problem between Adam and Luke is that Adam doesn't understand why Luke can't see the missing logic of faith, where Luke doesn't understand why Adam can't take the leap and believe. During one of their arguments, Adam accuses Luke of loving God more than him. Luke doesn't respond. Without spoiling it, I have to say that I was a bit disappointed by the choice in the final scene.
Don't be mistaken, as somber as this may sound, there are plenty of laughs to be found. Mr. Nauffts has assembled a slew of one-liners and quips that keep the audience bright. While the parents are out of the room, Adam, Holly and Brandon are discussing how to handle his relationship with Luke, who hasn't come out to his family yet. Adam says, "You don't see me in a thong on a float, but I'm still a fag!"
Having seen The Boys in the Band within a few days of this show, it was interesting to see how the openly vicious self-hatred of that story has modulated only a little into a more quiet version. This is noted particularly in the character of Brandon, who can hardly bring himself to say out loud that he's only attracted to black men. Luke suffers similarly, praying for forgiveness after each time he and Adam are intimate. Luke is also afraid of his family's rejection, specifically that his father will cut him off from contact with his little brother. "Next fall" he says, "that's when he'll be off to college, and I'll tell them then. He'll be old enough to decide for himself."
In Arlene, Ms. Ray has managed to take hold of a Julie White character and truly make it her own. Arlene was a confused and unprepared young mother who ended up in prison for marijuana, leaving the care of Luke to his father, who remarried shortly thereafter and had another son. Ms. Ray enters like a tornado and takes control in a touching yet hilarious performance. Mr. Cotter's Butch is a father in denial, both of his son's sexual orientation and the severity of his condition. His emotion is palpable during a climactic scene in Act II.
Mr. Heusinger's Luke is earnest, hopeful and occasionally callow - appropriate for a young man who dropped out of law school to move to NYC to chase an acting dream. Mr. Breen's Adam does most of the heavy lifting in the play, balancing the feelings of Luke's family and friends against his own. When he's told he can't see Luke in ICU because he's not "family," you can see his heart drop in his chest. Ms. Corman, and Mr. Dugan get little to do, more than sit around suffering supportively over Luke.
Wilson Chin's set flexes easily into the various locations, hospital waiting room, Adam's apartment, a bench in the park, all service-ably lit by Jeff Croiter.
This is a powerful and emotional play, beautifully written, directed and acted. It's another one not to be missed.
It got a rare standing ovation from me.
Labels:
Broadway,
Geoffrey Nauffts,
Helen Hayes Theatre,
play,
Sheryl Kaller
The Boys in the Band
"The Boys in the Band" presented by Transport Group Theatre Company, February 17, 2010
(photo: Carol Rosegg)
Have you ever wanted to be a fly on the wall at someone's party? That's exactly what director Jack Cummings, III has done with this revival of Mart Crowley's 1968 play. Mr. Cummings has furnished a loft space in the Flatiron District and seated the audience all around the large room to observe the fireworks. We are all guests at Michael's to celebrate Harold's 32 birthday.
The setting is still approximately 1968 as Michael (Jonathan Hammond) starts his warm-up with a little Judy at Carnegie Hall playing full blast on the record player. Just as the first guest is scheduled to arrive, Michael's college roommate Alan (Kevin Isola) is in town from DC, very upset, calls up and invites himself over. As the guests begin to arrive, Michael begs them to act "normal" when Alan appears and the spewing of self-hate begins. If you need a plot summary and a history of the show, click here.
Playing now as a period piece (to a certain extent), everyone at the party has been in therapy over his own issues with homosexuality. The resulting self-hate is the usual by-product from a time when the American Psychiatric Association still regarded homosexuality as a mental illness.
Mr. Cummings has assembled an attractive and, for the most part, very able cast to tell this tale of bitchy queens who care for each other, but hate themselves. The characters cover the gamut of stereotypes of the day (hell, of today for that matter), from the bitter, unattractive, Jewish Harold (Jon Levenson), to his birthday present, the twinkie hustler known only as Cowboy (Aaron Sharff), from the swishy, nelly Emory (John Wellman) to the divorced bisexual Hank (Graham Rowat).
Mr. Hammond's Michael gives us an early peek into his neurotic tendencies, changing his sweater three times to fussing over who didn't eat the cracked crab leg hors d'oeuvres. There's a lot more to work with in this character than his recent pared down role of Harry Houdini in "Ragtime" from last year. He carries Michael's baggage very well.
As Bernard, the token black man, Kevyn Morrow walks the fine line between camp and "straight acting." Mr. Wellman's Emory moves and croons perfectly, but with the close viewing proximity in the setting, I never saw the truth of it in his eyes. As the unwitting guest, Alan, Mr. Isolda plays it a little passively, perhaps to remain ambiguous through the suspicions and accusations that ensue. Not much falls into gray in this play, so the ambiguity didn't always work for me. The very handsome Christopher Innvar's Larry never exuded the "polyamorous-ness" of his role. Mr. Sharff's Cowboy was little more than a twink out of his element, in more ways than one.
Mr. Cummings is to be commended for his work. The pace is brisk, a vital requirement since the two hours are passed without intermission. He seems to have focused on the stronger actors, rather than bringing up the weaker ones. Still, it's a full ride of emotion in one evening.
The show runs through March 14. If you haven't seen it before, you shouldn't miss it.
(photo: Carol Rosegg)
Have you ever wanted to be a fly on the wall at someone's party? That's exactly what director Jack Cummings, III has done with this revival of Mart Crowley's 1968 play. Mr. Cummings has furnished a loft space in the Flatiron District and seated the audience all around the large room to observe the fireworks. We are all guests at Michael's to celebrate Harold's 32 birthday.
The setting is still approximately 1968 as Michael (Jonathan Hammond) starts his warm-up with a little Judy at Carnegie Hall playing full blast on the record player. Just as the first guest is scheduled to arrive, Michael's college roommate Alan (Kevin Isola) is in town from DC, very upset, calls up and invites himself over. As the guests begin to arrive, Michael begs them to act "normal" when Alan appears and the spewing of self-hate begins. If you need a plot summary and a history of the show, click here.
Playing now as a period piece (to a certain extent), everyone at the party has been in therapy over his own issues with homosexuality. The resulting self-hate is the usual by-product from a time when the American Psychiatric Association still regarded homosexuality as a mental illness.
Mr. Cummings has assembled an attractive and, for the most part, very able cast to tell this tale of bitchy queens who care for each other, but hate themselves. The characters cover the gamut of stereotypes of the day (hell, of today for that matter), from the bitter, unattractive, Jewish Harold (Jon Levenson), to his birthday present, the twinkie hustler known only as Cowboy (Aaron Sharff), from the swishy, nelly Emory (John Wellman) to the divorced bisexual Hank (Graham Rowat).
Mr. Hammond's Michael gives us an early peek into his neurotic tendencies, changing his sweater three times to fussing over who didn't eat the cracked crab leg hors d'oeuvres. There's a lot more to work with in this character than his recent pared down role of Harry Houdini in "Ragtime" from last year. He carries Michael's baggage very well.
As Bernard, the token black man, Kevyn Morrow walks the fine line between camp and "straight acting." Mr. Wellman's Emory moves and croons perfectly, but with the close viewing proximity in the setting, I never saw the truth of it in his eyes. As the unwitting guest, Alan, Mr. Isolda plays it a little passively, perhaps to remain ambiguous through the suspicions and accusations that ensue. Not much falls into gray in this play, so the ambiguity didn't always work for me. The very handsome Christopher Innvar's Larry never exuded the "polyamorous-ness" of his role. Mr. Sharff's Cowboy was little more than a twink out of his element, in more ways than one.
Mr. Cummings is to be commended for his work. The pace is brisk, a vital requirement since the two hours are passed without intermission. He seems to have focused on the stronger actors, rather than bringing up the weaker ones. Still, it's a full ride of emotion in one evening.
The show runs through March 14. If you haven't seen it before, you shouldn't miss it.
Wednesday, February 17, 2010
Ages of the Moon
"Ages of the Moon" at Atlantic Theater Company, February 17, 2010
Sam Shepard's newest play comes to New York after its London premiere, a rambling, almost stream of conscious, 80 minute, two-hander. The premise is that of Byron (Sean McGinley) arriving to comfort Ames (Stephen Rea), whose wife has just walked out on him after discovering a recent act of infidelity. Slowly we learn that Byron and Ames haven't been all that close after all as the drinking progresses and the confessions and long-forgotten memories waft in and out. This meandering exposition includes a tale spilling a pot of coffee on Roger Miller, the possible death of Byron's wife, a badly staged fight resulting in a possible heart attack.
The location of the action appears to be rural America, though this is never explicitly stated. The rural accents attempted by Messrs. Rea and McGinley travel all across the world, so perhaps that's why it's indefinite. The age of the two characters is also a bit confusing, since neither actor appears to be pushing 70, as the exposition would propose. (The Roger Miller incident took place in the early 1960s on Ames' honeymoon.) On top of that, Mr. Rea's dark hair belies his character's age as well.
There are some standard, required elements of a Shepard play - - guns, whiskey and fisticuffs. The gun comes along to address the issue with the "finicky" ceiling fan on the porch which turns of its own volition.
As Ames, Mr. Rea is whiny, needy, jealous and agressive. Mr. McGinley's Byron comes off like a bit of Forrest Gump, restating the obvious more often than not. Pace lags from time to time as the two men sit and stare off into the distance, sipping their bourbon. I'm certain these are two very talented actors, but am hard pressed to find them well cast in these roles.
Director Jimmy Fay doesn't seem to have landed on the message in this play of grumpy old men. I'm not certain Mr. Shepard has either. Brien Vahey's front porch set serves well, complemented by Paul Keogan's lights.
Sam Shepard's newest play comes to New York after its London premiere, a rambling, almost stream of conscious, 80 minute, two-hander. The premise is that of Byron (Sean McGinley) arriving to comfort Ames (Stephen Rea), whose wife has just walked out on him after discovering a recent act of infidelity. Slowly we learn that Byron and Ames haven't been all that close after all as the drinking progresses and the confessions and long-forgotten memories waft in and out. This meandering exposition includes a tale spilling a pot of coffee on Roger Miller, the possible death of Byron's wife, a badly staged fight resulting in a possible heart attack.
The location of the action appears to be rural America, though this is never explicitly stated. The rural accents attempted by Messrs. Rea and McGinley travel all across the world, so perhaps that's why it's indefinite. The age of the two characters is also a bit confusing, since neither actor appears to be pushing 70, as the exposition would propose. (The Roger Miller incident took place in the early 1960s on Ames' honeymoon.) On top of that, Mr. Rea's dark hair belies his character's age as well.
There are some standard, required elements of a Shepard play - - guns, whiskey and fisticuffs. The gun comes along to address the issue with the "finicky" ceiling fan on the porch which turns of its own volition.
As Ames, Mr. Rea is whiny, needy, jealous and agressive. Mr. McGinley's Byron comes off like a bit of Forrest Gump, restating the obvious more often than not. Pace lags from time to time as the two men sit and stare off into the distance, sipping their bourbon. I'm certain these are two very talented actors, but am hard pressed to find them well cast in these roles.
Director Jimmy Fay doesn't seem to have landed on the message in this play of grumpy old men. I'm not certain Mr. Shepard has either. Brien Vahey's front porch set serves well, complemented by Paul Keogan's lights.
Labels:
Atlantic Theatre Company,
Jimmy Fay,
Off-Broadway,
play,
Sam Shepard
Friday, February 12, 2010
Clybourne Park
"Clybourne Park" at Playwrights Horizons, February 6, 2010
Bruce Norris' new play tells the tale of an urban neighborhood, specifically one house as it suffers and recovers from white flight over the course of 50 years.
(Spoiler alert)
In 1959, Bev (Christina Kirk) and Russ (Frank Wood) are fleeing the pain of losing their Korean War veteran son to suicide following accusations of war crimes. They've relinquished responsibility for the sale of their house to the realtor who has sold it to a black family, the first in the neighborhood. Russ' depression has practically paralyzed him, so Bev has called Jim (Brendan Griffin) their pastor for a little counsel. As news of the sale gets out, Russ' co-worker Karl (Jeremy Shamos) and his hearing-impaired and pregnant wife (Anne Parisse). Francine (Crystal A. Dickinson), Bev and Russ' maid and her husband Albert (Damon Gupton) get dragged into the discussion about the impact of the property's sale on the rest of the homeowners in the area.
Fifty years later, the proximity of the neighborhood to downtown has created new interest in the area and a white couple expecting their first child has bought the same house with plans to raze it and build new. The politics now include a neighborhood association concerned that their plans will destroy the personality that has evolved over the last 50 years.
Mr. Norris manages to avoid a replay of "All In The Family" when the Jeffersons moved in next door, but does create a tense environment in both eras. He doesn't quite reach the "pitch black" comedy put forth in the marketing materials, but there is an awkward reality to the premise, highlighting two generations of white guilt on each side of political correctness. The plot construction is good, but the writing pales at times, falling to stereotype particularly in the second act.
Ms. Kirk's Bev never quite rings true, but Mr. Wood's Russ demonstrates his consummate skill as a character actor. Mr. Shamos pulls off the most convincing transformation from the panicky neighbor Karl to the new homebuyer Steve in Act II. Ms. Parisse doesn't have so much to do in Act I as the deaf Betsy, but gets a chance to put in a bit of work through her second act apology of a character, Lindsey.
Daniel Ostling's set ages well, complemented by Allen Lee Hughes lighting. Ilona Somogyi's costumes capture both periods effectively. Director Pam McKinnon tries to keep things apace, but gets bogged down from time to time.
Overall it's a nice effort. The show runs through March 7, 2010.
Playwrights Horizons is offering a discount:
Order by February 21 with code CPGR and tickets are only
Call Ticket Central at (212)279-4200 (Noon-8pm daily)
Present the discount code at the Ticket Central box office, 416 West 42nd Street (Noon-8pm daily).
Bruce Norris' new play tells the tale of an urban neighborhood, specifically one house as it suffers and recovers from white flight over the course of 50 years.
(Spoiler alert)
In 1959, Bev (Christina Kirk) and Russ (Frank Wood) are fleeing the pain of losing their Korean War veteran son to suicide following accusations of war crimes. They've relinquished responsibility for the sale of their house to the realtor who has sold it to a black family, the first in the neighborhood. Russ' depression has practically paralyzed him, so Bev has called Jim (Brendan Griffin) their pastor for a little counsel. As news of the sale gets out, Russ' co-worker Karl (Jeremy Shamos) and his hearing-impaired and pregnant wife (Anne Parisse). Francine (Crystal A. Dickinson), Bev and Russ' maid and her husband Albert (Damon Gupton) get dragged into the discussion about the impact of the property's sale on the rest of the homeowners in the area.
Fifty years later, the proximity of the neighborhood to downtown has created new interest in the area and a white couple expecting their first child has bought the same house with plans to raze it and build new. The politics now include a neighborhood association concerned that their plans will destroy the personality that has evolved over the last 50 years.
Mr. Norris manages to avoid a replay of "All In The Family" when the Jeffersons moved in next door, but does create a tense environment in both eras. He doesn't quite reach the "pitch black" comedy put forth in the marketing materials, but there is an awkward reality to the premise, highlighting two generations of white guilt on each side of political correctness. The plot construction is good, but the writing pales at times, falling to stereotype particularly in the second act.
Ms. Kirk's Bev never quite rings true, but Mr. Wood's Russ demonstrates his consummate skill as a character actor. Mr. Shamos pulls off the most convincing transformation from the panicky neighbor Karl to the new homebuyer Steve in Act II. Ms. Parisse doesn't have so much to do in Act I as the deaf Betsy, but gets a chance to put in a bit of work through her second act apology of a character, Lindsey.
Daniel Ostling's set ages well, complemented by Allen Lee Hughes lighting. Ilona Somogyi's costumes capture both periods effectively. Director Pam McKinnon tries to keep things apace, but gets bogged down from time to time.
Overall it's a nice effort. The show runs through March 7, 2010.
Playwrights Horizons is offering a discount:
Order by February 21 with code CPGR and tickets are only
- $40 (reg. $65) for all performances Jan 29-Feb 14
- $50 (reg. $65) for all performances Feb 16-March 17
Call Ticket Central at (212)279-4200 (Noon-8pm daily)
Present the discount code at the Ticket Central box office, 416 West 42nd Street (Noon-8pm daily).
Labels:
Bruce Norris,
discount,
invitation,
Off-Broadway,
Pam MacKinnon,
play,
Playwrights Horizons
Thursday, February 11, 2010
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.
(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.
Labels:
Broadway,
Musical,
Stephen Sondheim,
Walter Kerr Theatre
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