Lysistrata Jones

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

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

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

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

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

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

Private Lives

"Private Lives" at The Music Box, November 15, 2011

This London transfer brings Kim Cattrall back to the Rialto for the first time in 25 years, leading this production of the Noel Coward classic.  Her Amanda was hailed in London and she arrives in New York with a new Elyot in the very handsome Paul Gross.

The crossing seems to have had an impact on the production.  I will confess that there was much to live up to in my eyes, having basked in the glorious revival of 2002 with Alan Rickman and Lindsay Duncan. (Unfair?  Perhaps.)

Mr. Gross' Elyot succeeds best among this cast, urbane, elegant and sophisticated.  Lacking is any sense of chemistry between him and Ms. Cattrall's Amanda.  Ms. Cattrall, rather than rising to meet Mr. Gross' level of sophistication, goes instead for the physical laughs with a sense of awkwardness that undercuts the lyrical writing in the first act.  Fortunately, it's in the power of the writing that this approach still works.

The supporting cast also arrives with mixed results.  Anna Madeley is also a new addition and dithers beautifully as Elyot's new wife, Sybil.  She's an excellent physical match to Ms. Cattrall, even drawing entrance applause by an eager audience who didn't realize that it wasn't Ms. Cattrall.  The more curious appearance is the styling and physical appearance of Simon Paisley Day as Victor.  The role is written and usually cast with a more handsome actor who favors the actor playing Elyot.  A brief internet search did reveal a more consistent appearance with the London production's Elyot, Matthew MacFadyen.  Nonetheless, Mr. Day's Victor is much more of a stick-in-the-mud than I had expected.

It's unclear why director Richard Eyre couldn't help these actors find some chemistry.  Each are certainly capable performers, but never manage to deliver any kind of spark.  Even Anna Madeley as Louise, the maid, fails to deliver any laughs, instead merely strolling through the carnage with disinterest.

Rob Howell's costumes effect the period beautifully, but his sets didn't quite hit the mark for me.  Ms. Cattrall's costumes are particularly exquisite, first the bias-cut, champagne silk gown in Act 1, followed by the lovely navy suit in Act 3.  The Deauville balcony felt a bit skimpy where Amanda's Paris apartment stretched credulity in its excessive splendor of art deco chinoise in silver and verdigris.  The aquarium in the apartment is particularly impressive, echoing the circular theme of the room.  It's a gorgeous set, but hardly Amanda's Paris hideaway. David Howe's lighting draws more attention to itself than truly effective lighting should - too many sharply honed edges in selected zones on the stage.

Private Lives is on a limited run through February 5, 2012.  Get tickets here.

A "Burning" Quandry

I can't call it a review I have to write about today, though it is about a new play I attended over the weekend.

Let's put some things on the table first, stipulations, if you will:

• Getting a new play produced, particularly in New York, particularly by a company of the reputation of The New Group, is an incredible feat of effort.
• Provocative topics and situations are excellent fodder for playwrights looking to get attention to their work (see The Submission).
• "Downtown NYC" is a great place to exercise those skills.

A few more things to stipulate:

• I've seen a lot of lousy theatre in New York and have walked out on the full range, from multi-million dollar Broadway to dusty, uncomfortable black-box off-off-off Bway productions.  
• I've even performed in a couple of the latter types.

As a member of the ITBA, I see frequent invitations to attend and review theatre of all sorts in the city, as mentioned above, Broadway to black-box, off-off-off Broadway productions.  I don't see everything, but I was excited to see the invitation from The New Group for their production of the world premiere of Burning by up-and-coming playwright Thomas Bradshaw.  I've seen a couple of other productions from this company and looked forward to this.  The premise sounded interesting.  The director has made a name for himself.

This play was the first time I've ever walked out despite having been invited to write a review.

I consulted with a few associates about what to do and received a range of responses, two of which I'll paraphrase:

• "don't write a review of a show of which you only saw Act 1" 
• "write about what you did see, then explain why you left"
• "write a 'non-review', discussing the circumstances and your decision to leave early"

As you can see, I've opted for the third suggestion.

Producers offer tickets to reviewers like me to get the word out about their shows.  I have never had a publicist make any requests or qualifications about what I write, other than holding a post until the show officially opens.  As a result, I generally believe my obligation to include seeing the entire show.

Maybe I've been lucky so far.  Maybe I've been in more tolerant moods when I saw shows I didn't like.  Maybe I've just had nothing better to do on those occasions, but until this weekend, I've never walked out of a show I've been invited to review.

I mentioned having performed in dismal shows produced in less-than-stellar facilities.  I've also been in shows when a critic left at intermission and stated that in his review.  As an actor, that really hurts.  I know that pain.

Still, here's the summary I sent to my associates when I asked their advice on how to proceed:

Tonight I attended a performance of a play following a solicitation to the ITBA.  I say attended - actually I left at intermission.

This particular play, with an interesting premise, was produced by a reputable company of notable pedigree, with a notable director.  The actors are skilled and the production values are excellent.  The playwright has an interesting resume, and appears to be in an early and successful phase of career.

But the play itself is the problem.  From the complete lack of compelling (let alone likable) characters, to the unclear shifts in time periods, to the absurd (and not in the Albee style) dialog and reprehensible actions of some characters, to the gratuitous nudity and simulated sex acts, I found no artistic merit in the literary effort.   

I am dumbfounded, not even that someone wrote it, but that others read it and said "hey gang, let's spend the cash to put on this show!"

So, dear readers (both of you), what advice would you offer?

Burning runs through December 17.  Click here for tickets.

In the Family

This film by Patrick Wang opened at Quad Cinemas last night with a pretty strong review from the NY Times.  Check the review out here.  There's not much I would add to Mr. Brunick's observations.

Leaving the theatre, Mr. Wang was standing shyly on the sidewalk, waiting to get some direct feedback about the film.  Within minutes, Stone Phillips (who looks even better since he stopped coloring his hair) was leading the conversation among a group of us who had stopped to congratulate Mr. Wang, exploring some of his plot choices and inspirations.

As you'll see in the review, Mr. Wang hasn't had much success in his distribution efforts.  The film runs a little long, but it's well worth seeing.

Check it out at the Quad before it closes next Thursday.  Get tickets here.

Milk Like Sugar

"Milk Like Sugar" at Playwrights Horizons, October 21, 2011

A few years ago, there were news reports of unhappy high school girls who formed pacts to all get pregnant and drop out of school.  Playwright Kirsten Greenidge has written this concept into the premise of Milk Like Sugar, in which Talisha (Cherise Boothe), Margie (Nikiya Mathis) and Annie (Angela Lewis) are planning their gift list for their shared baby shower including Coach diaper bags and better cellphones.  Margie is already pregnant. Talisha has plans in place.  Only Annie seems to be dragging her feet even though Talisha has picked out a partner for her as well, Malik (J. Mallory-McCree).

As the play opens, the girls have turned up at a tattoo parlor after hours for Annie to get free ink from an uncertified tattooist.  This only one in a continuing series of bad decisions.  Annie's mother Myrna (Tonya Pinkins), cleans offices to support her family.  She fancies herself a writer,  but doesn't seem to understand why she can't use the computers in the offices she cleans.

Ms. Greenidge seems to surf the story on the backs of stereotypes, from the materialistic, frighteningly misinformed, teen girls (Margie says: "Annie, you should get a red tattoo, cuz Malik's phone is red!"), to the sensitive, poet-type Malik trying to escape his ill mother, to the jaded and bitter mother whose life potential ended with her own teenage pregnancy.  Even the tattooist is a misunderstood artist.  Ms. Greenidge also overworks a flame motif from Annie's tattoo to one of the many heavy-handed scene transitions with overstated symbolism. 

Better served might have been the ladybug nursery rhyme that felt much more organic to the proceedings.  It certainly would have made a better title than the line pulled from one of Annie's later monologues when she recounts the image of powdered milk in a cupboard as a hungry child.  About the only scene that really played truthfully was Margie's traumatic first visit to the doctor and the reality check that followed.

Director Rebecca Taichman, who directed Classic Stage's recent Orlando, keeps things moving once the scenes start, but pushes too hard with the choreographed transitions and seems no more at home in the 21st century than she did in the 16th.

Production values are well up to Playwrights' standards with sets by Mimi Lien and lighting by Justin Townsend.  Toni-Leslie James has some fun with the girls' costumes, particularly Margie's penchant for monochromatic outfits.

Milk Like Sugar runs through November 20, 2011.  Tickets are available here.

Man and Boy

"Man and Boy" presented by Roundabout Theatre Company at the American Airlines Theatre, September 10,  2011

Back to reviving classic American theatre, the Roundabout has scored Frank Langella to lead Terrence Rattigan's 1963 story of a corrupt, big-money, business mogul.  Set in 1934 New York, Gregor Antonescu (Mr. Langella), who single-handedly saved the the Franc in 1926, is viewed as the Warren Buffett of his day.  The parallels to today continue with the Great Depression era during which dissatisfaction with Roosevelt sound a lot like the criticisms of President Obama. The truth turns out to reveal Antonescu as a Madoff-like cretin, who created an elaborate Ponzi scheme which is about to collapse.

Antonescu is laying low in NY, and turns to his estranged, illegitimate son Basil (Adam Driver), for help to complete a last ditch deal to re-supply his organization with cash.  Basil has cut ties and abandoned the lifestyle that might have been his after a failed attempt to shoot his father on his 21st birthday.

Mr. Langella is masterful in this creakily written role, finding depth and nuance that likely aren't on the page.  Mr. Driver is miscast as Basil.  His physical presence is anachronistically buff for the sensitive musician that is this bastard son.  Francesca Faridany turns up for another shallow socialite, similar to her role of Vida Philmore from the Atlantic Theatre Company's The New York Idea from earlier this year.

Director Maria Aitken keeps things moving, but the play might have benefited from a bit of adaptation 50 years later.  Derek McLane's Greenwich Village basement apartment works nicely, but is more serviceable than remarkable, as do Martin Pakledinaz' costumes.

Man and Boy is scheduled to run through November 27.

Playwrights Horizons - Discount on "Milk Like Sugar"

The good folks at Playwrights Horizons have made the following offer.

DISCOUNT TICKETS TO MILK LIKE SUGAR for BLOG READERS:

Order by October 25 and use the code MILKGR
$35 (reg. $55) for Fri, Sat, and Sun evenings, Oct. 14-16; Oct 21-23
$40 (reg. $55) for all other performances Oct. 13-Nov 20

Online: www.TicketCentral.com<http://www.ticketcentral.com/>
Call: (212) 279-4200 Noon to 8PM daily
In Person: Ticket Central Box Office, 416 W. 42nd Street

Lemon Sky

"Lemon Sky" presented by the Keen Company at the Theatre Row, September 24, 2011

(photo by Richard Termine)

My experience with the Keen Company has usually been very good - solid productions and strong scripts.  This production is a tribute to the late Lanford Wilson in this autobiographical play.  This is the first time they have missed the mark for me.

17 year old Alan (Keith Nobbs) has traveled west to live with Douglas (Kevin Kilner) his estranged father who has remarried and has two sons by his second wife Ronnie (Kellie Overbey).  Douglas is eager to make up for lost time, and Alan is at first receptive, but as time passes,  Doug's old habits resurface.  Complicating the matter are the two foster daughters, Penny (Amie Tedesco) and Carol (Alyssa May Gold), who bring in needed cash to the household budget with their monthly state allocation.

Director Jonathan Silverstein has some strong actors among the uneven cast, but doesn't maximize their strengths.  Mr. Nobbs, last seen in a similar part as narrator/character in Broadway's Lombardi admirably carries much of the load, sharing lots of exposition in direct-address monologues, then quickly stepping into a scene as a confused high school graduate in the early 70s trying to figure out what his life will be. Ms. Overbey also steps up to an underwritten role.

Scenic designer Bill Clark makes excellent use of space for the California suburban ranch house setting, complemented by Josh Bradford's unobtrusive lighting.

Mr. Wilson has many other better-remembered titles in his canon.  Other than the autobiographical nature of this play, it's unclear what drew Keen Company to select it.

I'm hopeful for better results with their next production.

Lemon Sky runs through October 22.

The Submission

The Submission, presented by MCC Theatre at the Lucille Lortel Theatre, September 11, 2011

Writing a play is a daunting task.  Getting a new play produced takes "daunting" to exponential levels.

Danny (Jonathan Groff) has been writing for a couple of years, trying to get established on the new play festival circuit.  In a unexplained fit of inspiration, he writes a fresh, powerful and highly provocative tale of a young African-American trying to escape from the life his family has led for generations.  He shows it first to his best friend Trevor (Will Rogers), an aspiring actor, who gives him the first inclination that he's written something very special.  Danny finally shows it to his boyfriend Pete (Eddie Kaye-Thomas), who echoes the praise.

Danny, however, has already made submissions to several new play festivals and has just been accepted by the renowned Humana Festival.  All sounds good, looks positive - except for one thing: Danny has submitted under a name that suggests a woman of recent African-American extract.  He justifies the action on the rationale that no festival committee would take him seriously as the author of such a play.  With the pseudonym, the subject matter doesn't conflict with its source, and it seems to have worked.

That is, until he realizes the playwright is part of the staging process at Humana.  He hires Emilie (Rutina Welsey) an aspiring actress to play his playwright and channel information to and from him as the production comes to life.

Playwright Jeff Talbot has taken this Cyrano concept and given it enough twist to make it work.  Along the way, he starts a really interesting dialogue on the comparison of discrimination among two disparate groups, gays and blacks.  His characters of Danny and Emilie are better drawn than the supporting roles of Pete and Trevor, and interestingly, none of them are thoroughly likeable.  Each presents a bristle or mean streak at one point or another.  He has a tendency to beat a dead horse, as Emilie and Danny repeat the same argument at least three times.  The first time is riveting, the last - deafening.

Mr. Groff is effective as the young man getting a little long in the tooth to be so callow.  His Danny rationalizes and justifies each miscalculation as immature young adults do.  Ms. Wesley matches him well as Emilie evolves from playing the role of the playwright to developing a real affection and feeling of ownership of Danny's script.  Messrs. Rogers and Thomas support well.

David Zinn's set functions well, serving the multiple locations and is suitably complemented by David Weiner's interesting lighting.

Director Walter Bobbie gets caught up in the argument scenes where a bit of trimming would have better served the play, but otherwise keeps things moving well.

The Submission runs through October 22.

Follies

"Follies" at the Marquis Theatre, September 8, 2011

Stephen Sondheim's 1972 musical returns to Broadway via the Kennedy Center transfer from a successful run this summer. 

It's got star power with Bernadette Peters and Jan Maxwell as Sally and Phyllis, respectively.  There's some depth in the cast as well, with Danny Burstein, Jayne Houdyshell and featuring Elaine Paige as Carlotta.

Director Eric Shaeffer creates an aptly dark mood with a ghostly chorus line of deco-clad follies girls haunting the stage, already in motion as the house opens pre-show.  His sound designer carried it a bit too far, employing effects from Disney's Haunted Mansion before the show begins.  Derek McLane's sets also straddle the line of success.  The crumbling proscenium and brick-walled set, with iron catwalks and stairs evoke nicely, but draping the entire theatre in dirty oil cloth pushes too far. 

Performances are strong.  Ms. Peters excels as Sally, though she's a bit too pitiful at times.  Still, her "Losing My Mind" pulls the heartstrings, and in "Buddy's Eyes" she matches the emotion of her "Send in the Clowns."  Mr. Burstein's Buddy was as usual a bit more fey than necessary, a habit that was better controlled in South Pacific.  Ron Raines as Ben fills the bill.

It's Ms. Maxwell's Phyllis that clinches this production.  Icy, aloof and piercing, she clips and quips through Phyllis' bitter facade.  The highlight is "Could I Leave You" when the bile and resentment of 30 years of an unhappy marriage spew out.  She's electrifying.

Follies, on a limited run, has just announced an extension through January 22, 2012.  This is one to see.