Discount Offer - Playwrights Horizons

COMPLETENESS by Itamar Moses — Discount Tix!

How does a computer scientist hook up with a molecular biologist?  He blinds her with science, of course. When Elliot builds a computer program to help Molly with her research project, the variables in their evolving relationship shift as rapidly as the terms of their experiment. This deft and imaginative new ROM-comedy, also featuring Brian Avers and Meredith Forlenza, shows that even the most sophisticated algorithm may freeze in the face of life’s infinite possibilities.

Order by Sept 13 and tickets are $40 (reg. $70) for performances August 19-Sept. 4; and $50 (reg. $70) for perfs. Sept. 6-25.  Use code COMPBLOG when ordering.  For tix or more information, visit www.playwrightshorizons.org<http://www.playwrightshorizons.org><http://www.playwrightshorizons.org/> or call (212) 279-4200 (Noon-8pm daily).

Side Effects

"Side Effects" presented by MCC Theatre at the Lucille Lortel Theatre, June 30, 2011

(photo by Joan Marcus)

Michael Weller returns to MCC Theatre with the other side of the story from 2008's Fifty Words.  He's got a little more to say this time around, but it's the performances that make the visit worthwhile.

Bipolar Melinda (Joely Richarson) doesn't like to take her medicine, which frustrates her politically ambitious husband Hugh (Cotter Smith) to no end.  With two sons echoing Melinda's polar split (perfect son vs. screw-up son), both Melinda and Hugh maintain a total disregard for human nature that encourages this.  Their relationship devolves quickly as Hugh's political star begins to rise. Melinda is angry at being dragged along the for the ride and takes every opportunity to spoil the possibilities.  Hugh remains the definition of calm, cool and collected, until Melinda pushes him over the edge following the boys' car accident with her own breakdown.  Melinda's affair with Adam (from Fifty Words) shows up to push the plot along, but feels contrived since it's no more than a couple of one-sided telephone calls for exposition.

Ms. Richardson elevates the proceedings merely by walking on stage.  Elegant and glamorous, she builds a third dimension that would challenge a lesser talent.  Mr. Smith supports sufficiently, though not quite demonstrating skill to the level of Ms. Richardson.

Mr. Weller provides lots of emotion and gains considerable benefit with the very talented cast.  Were it not for the considerable skill of Ms. Richardson, particularly, the stilted dialog would drag even more than it did.  It's a better effort than Fifty Words, but not by much.

The exquisite living room is by Beowulf Boritt (and Ethan Allan) in warm neutrals with earthy red accents.  Jeff Croiter's lighting complements well.

Side Effects closed on July 3.

Master Class

"Master Class" presented by Manhattan Theatre Club at the Samuel J. Friedman Theatre, June 26, 2011

Terrence McNalley's 1995 fantasia of Maria Callas conducting a master class at the Julliard School in the 1970s returns to Broadway courtesy of Manhattan Theatre Club. 

Playing La Divina is an unlikely Tyne Daly, whose Callas simmers and seethes through the thinnest of skins, bristling at the smallest perception of a slight to a star of her caliber.  Ms. Daly masters the intricate diction of the singer beautifully, though she felt occasionally less than clear as she navigated the memory segments, interacting with her first husband, then Onassis.  Callas was a consummate acting singer - a novelty in opera at the time.  As she coaches each of the three "victims" (her word), she sends each one back to their score to find the answers in the composer's music and text.  (It's a solid performance/coaching/directing technique best and most recently demonstrated by David Cromer's recent productions of "Our Town" and "Brighton Beach Memoirs.")  Ms. Daly's Callas is not subtle though she strives for elegance.  The narcissistic fragility interrupts too often.

The first victim, Sophia De Palma (Alexandra Silber) whimpers and gushes through interruption after interruption of her aria from La Sonnambula. Awed by Callas, Sophie takes every verbal jab and asks for more.  Ms. Silber holds up well.

Next is Sharon Graham (Sierra Boggess in the role which won Audra MacDonald her first Tony).  She doesn't even get her first note out before fleeing in humiliation.

Anthony Candolino (Garrett Sorenson), the tenor, strides on next and in stereotypical tenor form, pushes back on every shove from Callas.  Her disdain melts as he sings Cavaradossi's first aria from Tosca. Visibly shaken by it, she dismisses him with the same advice to focus on the score.   The classically trained Mr. Sorenson does indeed have the voice that Anthony claims.  And, like Anthony, he still needs to work on the acting.

Sharon returns to prove herself, setting off a veritable battle of Lady MacBeths, as she sings the entrance from Verdi's opera.  Ms. Boggess gives it her best, and for the most part succeeds.

This is Mr. McNalley at his best, juxtaposing the rejected, fading diva against three vocal students whose chosen material strikes careful parallels to her own life and relationship with Aristotle Onassis.  Sophie's aria echoes Callas' memory of the news that Onassis had married Jackie Kennedy.  Tony's aria prompts the memory of how Onassis first loved her.  It is Sharon's that gets the most interesting.  In it, Lady MacBeth begins her plot to push her husband into actions that would make him king.  As she coaches and intimidates Sharon, Callas becomes Lady MacBeth and Sharon, MacBeth, the target of her machinations - it's brilliant writing.

Master Class is on a limited run through August 14.  Get ticket information here.

Unnatural Acts

"Unnatural Acts" at Classic Stage Company, June 18, 2011

This new dramatization by the Plastic Theatre chronicles the events leading up to the "secret court" hearings conducted by Harvard University in 1920, following the apparent suicide of Cyril Wilcox.

Amit Paley, a student journalist for The Harvard Crimson, discovered a reference to the incident in university archives.  Harvard eventually allowed Mr. Paley to review the documents, prompting Tony Speciale of Plastic Theatre to make his own investigation.

The events of the story tumble like dominoes almost immediately as the hearings begin.  First interviewed is Kenneth Day (Roe Bartrampf), the jock of the group who resided in the dormitory where everything took place.  Ken folds quickly, confessing to sexual acts with his dorm mates.  The ring leader is Ernest Roberst (Nick Westrate), the son of a prominent US Congressman.   he attempts to create solidarity among the remaining students facing the hearings, encouraging all to deny the charges.  The remaining students include senior pre-med Nathaniel Wollf (Joe Curnutte), aspiring actor Keith Smerage (Frank De Julio), pre-law Joseph Lumbard (Will Rogers), his roommate, Dartmouth transfer Edward Say (Jess Burkle), senior Eugene Cummings (Brad Koed), senior and drama club president Stanley Gilkey (Max Jenkins), tutor Harold Saxton (Devin Norik) and classics professor Donald Clark (Jerry Marsini).

As Cummings, Mr. Koed serves as something of a narrator, providing the exposition from time to time.  Mr. Bartrampf's Ken Day is every inch the athlete, fully exposed in an early shower scene.  Mr. Burkle's Say swishes and minces bitterly.  He and Mr. Rogers pull off an impressive scene at the top of Act II when their testimony monologues overlap, both supporting and contradicting each other in their individual moments of panic at the ramifications of the hearings' outcome.  It's a beautifully crafted sequence.  A similar juxtaposition occurs with Messrs. Wollf and Smerage, who had their own affair.  As Mr. Wollf testifies, Mr. Smerage delivers his audition monologue, reciting from Shakespeare's Antony and Cleopatra. Mr. Wollf betrays Mr. Smerage, as Antony's speech explores the betrayal of Cleopatra and Caesar, another clever scene.

Messrs Burkle and Jenkins turn in outstanding performances.  Mr. Burkle's Ernest is spoiled, fierce, flaming and unrepentant.  Mr. Jenkins' Stanley is mean, cruel, vicious and vindictive, turning on his friends instantly and ends up as one of the only two found not guilty by the court.

This is an impressive and important moment in gay history that shouldn't be overlooked.  Mr. Speciale and his company have documented this dark period when even the hint of homosexuality could ruin reputations and even incite suicide.  The play is well-structured and well-directed by Mr. Speciale.

My only real criticism is a bizarre Bill T. Jones-style choreography that accompanies Mr. Koed's final testimony at the end of the play.  All the staging up to this point was clear and purposeful, powerful and effective.  This change in story-telling does little more than distract from the testimony.

Unnatural Acts runs through July 10.  Get tickets here.

ITBA 2010 - 2011 Patrick Lee Theater Blogger Awards

 

The Independent Theater Bloggers Association (the “ITBA”) is proud to announce the 2011 recipients of the Third Annual Patrick Lee Theater Blogger Awards.   Patrick Lee was one of the ITBA's founding members. Patrick passed away suddenly last June, and was an erudite, passionate, and tireless advocate for theater in all its forms. Patrick was also the ITBA's first awards director, and was a regular contributor to Theatermania and TDF Stages.

The 2010-2011 Patrick Lee Theater Blogger Award Winners:

OUTSTANDING NEW BROADWAY MUSICAL

Bloody Bloody Andrew Jackson

OUTSTANDING NEW BROADWAY PLAY

Jerusalem

OUTSTANDING BROADWAY MUSICAL REVIVAL

Anything Goes

OUTSTANDING BROADWAY PLAY REVIVAL

The Normal Heart

OUTSTANDING NEW OFF-BROADWAY PLAY

The Elaborate Entrance of Chad Deity

OUTSTANDING NEW OFF-BROADWAY MUSICAL

The Kid

OUTSTANDING OFF-BROADWAY REVIVAL (PLAY OR MUSICAL)

Angels in America, Part 1: Millennium Approaches

OUTSTANDING SOLO SHOW/PERFORMANCE (ALL VENUE CATEGORIES)

Michael Shannon, Mistakes Were Made

CITATIONS FOR OUTSTANDING OFF-OFF BROADWAY SHOW

Feeder: A Love Story

Invasion!

The Caucasian Chalk Circle

Belarus Free Theater's Discover Love

Black Watch

ReWrite

UNIQUE OFF-OFF BROADWAY EXPERIENCE

Sleep No More

OUTSTANDING ENSEMBLE PERFORMANCE

The Scottsboro Boys

CITATIONS FOR EXCELLENCE BY INDIVIDUAL PERFORMERS

Nina Arianda, Born Yesterday

Laura Benanti, Women on the Verge of a Nervous Breakdown

Reed Birney, A Small Fire

Christian Borle, Peter and the Starcatcher

Norbert Leo Butz, Catch Me If You Can

Bobby Cannavale, The Motherfucker with the Hat

Colman Domingo, The Scottsboro Boys

Sutton Foster, Anything Goes

Josh Gad, The Book of Mormon

Hamish Linklater, School for Lies

Joe Mantello, The Normal Heart

Arian Moayed, Bengal Tiger at the Baghdad Zoo

Lily Rabe, The Merchant of Venice

Mark Rylance, Jerusalem

Michael Shannon, Mistakes Were Made

Benjamin Walker, Bloody Bloody Andrew Jackson

CITATION FOR EXCELLENCE IN OFF-OFF BROADWAY THEATRE

La Mama

The list of the 2011 recipients of The Patrick is read by Susan Blackwell, Heidi Blickenstaff, Jeff Bowen and Hunter Bell, the cast and creators of the acclaimed [title of show] and who are currently collaborating on Now. Here. This.", a Developmental Lab Production at the Vineyard Theatre: http://www.vineyardtheatre.org/show-now-here-this.html.   A video of their reading is on Youtube at  http://youtu.be/-aC4viVcP2Y  which was filmed by ITBA member Jesse North. 

The ITBA, is comprised of bloggers who regularly see live performances in all its forms in New York City and beyond.   Members are in New York, Boston, Chicago, Minneapolis, and London.  For further information and a list of our members, our website is www.theaterbloggers.com.  If you are interested in learning more about the ITBA, email info@theaterbloggers.com.  To invite the members of the ITBA to your show or event, please send an email to  invite@theaterbloggers.com.

Catching Up the Backlog

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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


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

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

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

The School for Lies

"The School for Lies" at Classic Stage Company, April 30, 2011

David Ives returns to CSC with another update of a classic. This time it's a fresh interpretation of Moliere's The Misanthrope.

And fresh, indeed.  Mr. Ives manages to combine the French salon of the empire with a hilarious farce entirely in verse and using quite contemporary and usually anachronistic language.  It's a similar feat to that of this season's revival of David Hirson's La Bete, but this time it doesn't require the masterful skills of Mark Rylance to achieve success.

Mr. Ives kicks off this grand time with the names assigned to his characters.  The misanthrope, a man incapable of guile or dishonesty, even for the sake of polite society is aptly named Frank (Hamish Linklater).  Celimene (Mamie Gummer) is the widowed owner of the manse where the action occurs, and has a slander charges pending against her. She sports a barbed tongue as sharp as Frank's, but wields it purely for sport, "I never gossip, I just repeat."  Losing the case will render her penniless if her secrets are revealed.  Complicating the suit is Celimene's rival, Arsinoe (Alison Fraser).  She also has three suitors: the obnoxious and untalented, self-styled poet Oronte (Rick Holmes), Acaste (Matthew Maher) a vapid hanger-on, and her oily lawyer Clitander (Frank Harts).  Philante (Hoon Lee) and Elainte (Jenn Gambatese) round out the cast as friends of Celimene and Steven Boyer doubling as servants of both Celimene and Frank.

Mr. Linklater's Shakespearean experience rings through loud and clear as he skillfully manipulate the verse.  His Frank is a bit reluctant, but always rises when challenged.  Equalling his performance is Ms. Gummer, looking and acting more like her mother with each new role.  She commands the range from elegant to acerbic to vulnerable.

Director Walter Bobbie is in high form.  He navigates this farce with aplomb, pulling elegance and pratfalls together, matching Mr. Ive's mix of period and contemporary with laughs aplenty, and a final, touching plot twist.  It's an excellent match of director and writer, showing an enhanced relationship following their pairing last in with Venus in Fur. 

The crisp, upholstered white set is by John Lee Beatty (and Restoration Hardware).  William Ivey Long's costumes are sumptuous and elegant.  

It's an excellent evening of theatre - don't miss it!

The School for Lies runs through May 22.  Click here for tickets.

Seance on a Wet Afternoon

"Seance on a Wet Afternoon" presented by New York City Opera at the David Koch Theatre, April 28, 2011

I always find it exciting when established artists attempt a new direction with their art.  Case in point, the new ballet that Paul McCartney is composing for New York City Ballet announced this spring.

Similarly, Stephen Schwartz, composer of musical theatre works Godspell, Pippin and Wicked announced his first opera, Seance on a Wet Afternoon sounded like an interesting turn for his career.  Having performed in a (very bad) community production of Godspell, and having seen Wicked several years ago, I am familiar with Mr. Schwartz' style and was looking forward to seeing and hearing how it evolved for the opera stage.

His story choice is full of opportunity for dramatic musical interpretation.  Myra Foster (Lauren Flanigan), a commercially unsuccessful medium and her more than devoted husband Bill (Kim Josephson) are hatching a plan to bring Myra's talents to light and boost her reputation and fame.  The plan is to kidnap the young daughter (Bailey Grey) of a local wealthy family (Todd Wilander and Melody Moore).  Myra would then turn up and offer psychic assistance to locate the child and return her to her family safe and sound.  The ransom money collected would be donated to charity.

Myra's connection to the other side is her son, Arthur (Michael Kepler Meo), who died as a child.  His assistance with Myra's regular group of believers is fleeting and only accurate on rare occasions.  Bill is reluctant to go along with Myra's plot, but loves her more than he fears the risk of it.  Once the girl is nabbed, the Inspector Watts (Phillip Boykin) turns out to be a believer and seeks Myra's help.

I won't spoil the plot, but suffice to say, things don't work out as planned, though Myra does finally have a successful channeling episode that combines the spiritual moment with her own confession.

Mr. Schwartz' score strays pretty far from his usual style for the stage, unfortunately.  This Seance features stereotypical contemporary opera styling, substituting bland dissonance for the skillful use of leitmotif to define character.  There are one or two arias that speak more to what Mr. Schwartz does best, both in Act II.  Bill sings "You Didn't Know Her" lamenting over the woman he first fell in love with, who she might have been and how she used to be.  Mr. Josephson's interpretation is touching and heartfelt, elevating the proceedings, if only briefly.  Ms. Moore's Rita Clayton also sings of the hope she feels from Adriana's spirit while she's being held captive by the Fosters.  She sings beautifully, capturing the fear and emotion of a mother overwhelmed with worry about her missing child.  Ms. Flanigan's Myra suffers from the insufficient score, though she gives a thoroughly committed performance.

Mr. Schwartz' son Scott directs, but doesn't seem to add much to the production.  Chorus and principals are starkly segregated except in those few scenes when Myra ventures out of the house, or when Bill snatches Adriana.

Heidi Ettinger's translucent house set and chain link curtains are the most successful element in this staging.  Alejo Vietti's costumes suffice, though the black and white attire for the chorus does remind me of Vicki Mortimer's design for the Roundabout's revival of Nine in 2003.

Seance on a Wet Afternoon continues at NYCO through May 1.

Starwatch: Jack O'Brien, David Alan Grier

Born Yesterday

"Born Yesterday" at the Cort Theatre, April 7, 2011

Garson Kanin's classic spin on Pygmalion has returned to Broadway in a gorgeous, but uneven production directed by Doug Hughes.  This vehicle, which made Judy Holliday a star, provides a similar opportunity for Nina Arianda, making her Broadway debut as Billie Dawn.  Ms. Arianda certainly has earned the chance with her turn in the title role of Venus in Fur last year at Classic Stage Company.

The material is very different here.  (For a plot summary, click here.)

The first two acts are quite engaging.  It's the third act when things begin to falter.  Mr. Kanin's script (perhaps inspiring at the end of WWII) devolves into a cheesy pageant of patriotism as Paul (Robert Sean Leonard) and Billie explain the error of his ways to Harry (Jim Belushi). 

The change in language and tone are particularly noticeable because of the very miscast Mr. Leonard.  Adding to the problem, he and Ms Arianda have such minimal chemistry that other events in Act II and Act III make very little sense. Mr. Leonard's performance is otherwise serviceable, but unremarkable.

Ms. Arianda starts out nicely, bouncing back and forth from sullen to perky to uncouth, and all with a certain charm.  She reflects Billie's evolution adequately, but it's missing that spark from the chemistry with Paul that keeps it from working as well as it should.

Mr. Belushi's Harry huffs and puffs and darn near blows the set down.  While occasionally effective, it's not enough to carry the role. Frank Wood is oddly inarticulate as Harry's lawyer, Ed Devery - disappointing from such a talented actor.  Perhaps the choices were more those of director Dough Hughes, that Mr. Wood.  It's as though Mr. Hughes spent most of his time on Acts I and II and ran out of time to focus on the weakness in Act III.

John Lee Beatty's black and white hotel suite set echoes the stark contrasts in characters, honest and criminal, cruel and kind, polished and uneducated.  Catherine Zuber's costumes are gorgeous as always.

Born Yesterday is on a limited run through July 31.  Click here for tickets.

Love Song

"Love Song" at 59E59 Theaters, April 19, 2011

(Photo by Jeff Larkin - provided by 59E59)


There are times when I forget that getting nominated for an award isn't necessarily an indication of worth.  Love Song was nominated for an Olivier Award in 2007.

I'm pretty sure it didn't win.

Playwright and director John Kolvenbach presents his play in its New York debut with an energetic, if largely miscast, production.  Beane (Andrew Pastides), apparently has Asperger syndrome or something similar, moping about on the edge of existence, driving his perfectionist sister Joan (Laura Latreille) to her wit's end.  Joan's husband Harry (Ian Barford) stays oddly supportive of both of them, until Beane meets Molly (Zoe Winters), who has broken into Beane's empty apartment, confronts him and steals his minimal belongings.

When Molly turns up at Beane's again, he is suddenly energized, a new man, a man in love.  He talks freely, initiates conversation, shows emotion and from a mainstream conformist perspective, seems normal.  Joan is hysterical and Harry is concerned.

I know - it didn't make any more sense to actually watch it either.

Mr. Pastides works hard to provide some dimension to the flat writing.  Ms. Latreille also has some success in the more emotional moments when she encourages Beane once she realizes the impact Molly has, but otherwise her performance feels false.  Mr. Barford and Ms. Winters both coast through unremarkably.

Mr. Kolvenbach doesn't seem to add much to his predictable script.  Ji-Youn Chang's set achieves the greatest success of the evening, juxtaposing Joan and Harry's warm red apartment against Beane's all-white colorless existence.

Love Song runs through May 7.  Tickets are available here.