Oslo

Off-Broadway, Play, Uncategorized July 25, 2016 Leave a comment

Whether or not Oslo is your kind of play depends in large part on your enjoyment of the drama of diplomacy and the language of complex interpersonal communication.  The piece by J.T. Rogers is based on the true events that led up to the Oslo Peace Accords: the extraordinary peace deal between The PLO and Israel signed into being on September 13, 1993.  The little-known backstory — particularly the delicate and perhaps heroic involvement of the Norwegians in the series of intricate and touchy conversations between lifelong enemies — will hold a genuine fascination for some.  For others, the intervening 23 years of failure and violence will overshadow the struggle reproduced on stage.  Yes, Oslo portrays an incredible opportunity, but one that could not be held together long with cleverness, waffles and Johnny Walker Black.

Purely as an entertainment, Oslo has a lot to offer.  Though it clocks in close to 3 hours, it never stops moving.  There is a surprising amount of action in what could have been an overly-talky script.  History has been condensed and characters melded for ease of understanding without great loss of accuracy.  The crackling dialogue flecked with humor is interspersed with clarifying remarks made directly to the audience.  Positions are dealt with even-handedly, delivering the clearest picture possible of what’s at stake for all parties involved.

The vast cast under the seasoned hand of Bartlett Sher is first rate.  While I did not buy his closing remarks about the lasting impact of the proceedings, the always excellent Jefferson Mays as Terje Rød-Larsen makes an eager and human guide.  His noble and gifted wife, Mona Juul, is played by Jennifer Ehle with integrity and warmth that radiates to the exit doors.  Henny Russell in multiple roles adds charm and laughs by turns.  But it is Uri Savir the Director-General of Israel’s Foreign Ministry as portrayed by Michael Aronov who electrifies the space and keeps us rooting for something positive to emerge from the flutter of words.  Designer Michael Yeargan provides simple furniture supplemented with projections by 59 Productions which makes moving through locations quick and easy to follow.  Catherine Zuber’s costumes add “schlub”, utility and class in all the right places.

The short run currently at Lincoln Center Theater’s Mitzi E. Newhouse through August 28 (http://www.lct.org/shows/Oslo/) is sold out.  However it’s a good bet that lovers of mildly-fictionalized history and political intrigue will assure Oslo is repeated from time to time for at least as long as the Mideast face-off persists.

The Golden Bride

Musical, Off-Broadway, Uncategorized July 10, 2016 Leave a comment

The Yiddish musical The Golden Bride first premiered on February 9, 1923, a time when new laws were being implemented that would strongly limit the number of Eastern European Jews permitted to immigrate to America.  It is essential to keep this filter in place when experiencing the latest remounting by the National Yiddish Theatre Folksbiene at the Museum of Jewish Heritage.  While the lively music by Joseph Rumshinsky and fine operatic singing have weathered the test of time, much of the theme and relationships are bordering on the offensive when viewed through a modern middle-aged lens.  (I can’t begin to imagine what younger audience members would make of it.)

The piece opens like a Russian flavored Gilbert and Sullivan with a brightly colored set behind a cohesive chorus.  The orchestra led by Zalmen Mlotek can be glimpsed through a scrim center stage.  Louis Gilrod’s cute lyrics are in Yiddish with English and Russian titles projected on the top of the proscenium.  Trilling notes are hit and words well articulated by an impressive sprawling cast.

The basic set-up is presented within the first few songs.  Two young women have unexpectedly come into large sums of money and will therefore be able to make great marriages.  This storyline may have worked perfectly as a tool for helping those newly arrived from the Russian Empire to a disorienting home in the USA.  But to the ears of the uninitiated, this plot will seem worn and unwelcome leading to a tough struggle through the next two hours.  Other bits like their fumbling with the English language and the muddled-ness of a hard-of-hearing character are even more potentially wounding in 2016.

There are moments of levity that survive the journey through the years much better.  The core of the comic space is held by high-spirited Adam B. Shapiro in the clownish role of Kalmen.  The relationship between the charming Pinkhes (Bruce Rebold) and his doting wife Toybe (Lisa Fishman) sparkles in both their Russian inn and as they attempt to adapt to their perception of life as upper class Americans.  Glenn Seven Allen and Rachel Zatoff give broad but amusing performances as would-be actors Jerome and Khanele.  Tougher jobs are given to the central young lovers Misha (Cameron Johnson) and Goldele (Rachel Policar).  But despite all the unsavory talk of money and position, there is a sweetness to their bond that shines through.

To make this production happen, it truly took a village.  The program lists over 200 “supporting producers” who participated in an online fundraising campaign specifically to revive The Golden Bride.  This tells me that there is a thirst for high caliber historically insightful entertainment.   Whether or not this includes you will depend largely on your ability to alter your perspective.  You can test your cultural flexibility through August 28 by purchasing tickets at http://www.nytf.org.

 

Stet

Off Off Broadway, Play, Uncategorized June 25, 2016 Leave a comment
Photo Credits: Jocelyn Kuritsky, Lexi Lapp

Photo Credits: Jocelyn Kuritsky, Lexi Lapp

The term “stet” comes from the Latin to “let stand” and is the instruction given by an editor when an alteration made to a text should be ignored in favor of what was originally written.  It is also the title of a new play by Kim Davies based on the incidents surrounding Rolling Stone’s article about a particularly brutal campus rape.  The piece was eventually retracted over erroneous reporting methods.  What remained, though, was a heightened awareness that these crimes were all too common.  While this production should be commended for reigniting that important conversation as well as raising money for the advocacy group Take Back the Night, sadly and astonishingly it falls short of being an engaging theatrical experience.

The director, Tony Speciale, also holds a co-developer credit, so it is surprising he has given himself so many challenges with moving forward what should be a compelling story.  The characters are often separated by their cellphones and walls, deadening what should be emotional undercurrent.  Lead actress and another co-developer Jocelyn Kuritsky seems rudderless as she moves through the story.  Her poorly defined often strident reporter, Erika, is neither ambitious nor caring enough.  Far better is Bruce McKenzie, who is genuine as Phil, her encouraging but off course editor who takes on the delicate subject of a gang rape at a college fraternity.  (This echoes the content of the Rolling Stone piece from a few years ago.)  Another standout is Déa Julien as a well-intentioned recent graduate who has been tasked by the college to counsel rape victims.

Yet, what could be a deeply affecting event never moves beyond the surface.  Clearly the biggest problem is the script itself.  There is an important message to be delivered about how the media attaches a scale to the impact of one rape story over another.  There is also the way society persists in maintaining different rules for different genders.  Neither of these potential themes is properly explored.  Too many stretches are talky exchanges with none of the raw impact essential to bring us in.  The scenes drift along without a central viewpoint.  As a result, we find out little about these characters other than their connection to a violent and appalling act.  Even Ashely, who is the victim of the crime and the heart of Erika’s story, is a shell of a person.  Here the story telling is so vague, the truth remains in doubt without enough to ponder.

Stet is obviously a labor of love for the Abingdon Theater and its collaborators.  I hope they continue to develop this brave work so that it becomes all they intend it to be.  It was recently extended through July 10 and tickets are available at http://abingdontheatre.org/stet/.

The Healing

Off Off Broadway, Play, Uncategorized June 23, 2016 1 Comment

In The Healing, a circle of friends who met at a religious camp 25 years ago reunites to honor the death of one of their own.  Before you can roll your eyes, let me add that the situation is set in motion by Samuel D. Hunter, the Obie Award winning playwright behind A Bright New Boise.  In both cases, Hunter explores what happens when extreme faith meets life’s curveballs with stunning agility and clarity.

Here he adds an extra thought-provoking layer.  All of the main characters and the actors who portray them are disabled.  This is both significant and irrelevant.  Commissioned by the Theater Breaking Through Barriers, the piece provides a welcome opening for a group of gifted actors who have more limited opportunities.   The work was written specifically for this cast and that customization shows in their ease with one another.  In the lead role of Sharon, the heart of the group, Shannon DeVido — a comic, improv artist, and frequent Hunter collaborator — conveys a delicate balance of command and doubt.  (Regrettably on this occasion her perfectly timed moments of reflection sometimes lead to too quiet a delivery.)  Even stronger and more approachable is actor/speaker/filmmaker David Harrell as down to earth Donald.  Jamie Petrone and John McGinty are adorable as newly coupled Bonnie and Greg.

Their presence on stage also holds up an important mirror to an underserved audience of partially sighted and deaf as well as those with limited mobility.  The energy zooming in both directions is electrifying.  Ultimately, though, this is simply a terrific story about friendship, loyalty and getting through the day.  While The Healing isn’t quite up to Boise’s level of greatness, Hunter’s set-up is intriguing, every little touch has relevance and the dialogue simply flows forward.  As a result, the script could be well executed by any talented troupe, all be it less sincerely and powerfully.

This world-premiere production has been well-mounted at the small Clurman Theatre in Theater Row.  UK and US director Stella Powell-Jones brings her delicate touch to even the most uneasy of the play’s beats. Jason Simms’ set design wonderfully captures the watched-too-much-QVC-ness of Zoe’s living room.  And I would give Christopher Metzger a separate round of applause for Mary Theresa Archbold’s physically overwhelming outfits for her role as the nearly defeated Laura.

If you like your theater on the natural side, The Healing will strike many graceful notes.  Tickets are available through July 16 at http://www.theatrerow.org/clurmannowplaying/.

She Loves Me

Broadway, Musical, Uncategorized June 9, 2016 Comments: 2

These days we can all use an injection of Utterly Charming.  So the timing couldn’t be better for this delightful revival of Harnick and Bock’s She Loves Me.  Even those who are not familiar with the play on which the work is based or the movies that sprang from it can take comfort in the title.  This is clearly not a performance that is going to leave you emotionally shattered and sleepless.

Comfort is derived from the moment David Rockwell’s appealing set is revealed.  Throughout most of the show, the rooms of the enchanting Maraczek’s Parfumerie open, close and turn in central 1934 Budapest.  The store is peopled by staff and shoppers all captivatingly clothed by Jeff Mahshie.  But it is the clever and catchy lyrics by the incomparable Sheldon Harnick that draw us most into this world in which boy meets girl, boy and girl get on each other’s nerves and boy buys girl ice cream.  At 92, Mr. Harnick is still actively engaged in the production process.  He has even added a few new lines to this incarnation of his musical originally produced in 1963.

Of course, much of the joy comes from watching this particularly lively cast at work under the direction of Scott Ellis.  Jane Krakowski appropriately thanked her hamstrings at the recent Drama Desk Awards for helping her steal every scene she is in.  Her bright energy is reinforced by the sly and slightly smarmy lover portrayed by Gavin Creel.  In the role of new girl Amalia Balash, Laura Benanti delivers the right mixture of cotton balls and steel wool.  And for this true blue Chuck fan it was a particular thrill to see the multitalented Zachary Levi throw himself into the romantic lead, Georg Nowack, with genuine exuberance and a sprinkle of Jimmy Stewart to satisfy purists.

Vital support for these headliners is provided by Byron Jennings, Tom McGowan, Peter Bartlett and high school senior (!) Nicholas Barasch.  The entire team is so good together that this piece has been chosen for the first live stream event on BroadwayHD in June and a new cast album due to be released later this year.

She Loves Me is a satisfying confection for anyone in need of some old fashioned sweetness.  The 2 1/2 hours are sure to fly by.  It is currently playing at Studio 54 with tickets are on sale through July 10 at https://www.roundabouttheatre.org/Shows-Events/She-Loves-Me.aspx.

Turn Me Loose

Off-Broadway, Play, Uncategorized May 28, 2016 Leave a comment

Standup comedian and civil rights activist Dick Gregory’s rise to fame began when Hugh Hefner heard him address a nearly all-white Southern audience at a black-owned establishment and brought him to the Playboy Club.  His big breakthrough came when he was invited to be the first African American guest to be seated on the famous couch at the Tonight Show.  Whether you remember his scorching political satire, heard about it second-hand or are completely unfamiliar with his history, revisiting his work in Gretchen Law’s Turn Me Loose is an opportunity not to be missed.  Hearing his words through a 2016 filter is a punch to the gut and a sad commentary on the one-step-forward-two-steps-back progression of race relations in this country.

On stage for a solid 90 minutes, award-winning actor Joe Morton is completely captivating in the lead.  Given the still-living Gregory’s real bite, it’s a tall order.  Yet Morton perfectly portrays a span of nearly 50 years solely with adjustments to his posture and a roughening of his voice.  His total control of the audience never waivers as he gets them to rise to their feet in approval or recoil when requested to shout out the N word.  Morton receives occasional and essential support from the versatile John Carlin as every background player including a heckler, cabbie, and radio interviewer.

Law’s script blends chapters of Gregory’s autobiography and clips of his routines with a touch of fiction to keep the storyline tight and clear.  Chris Barreca’s adaptable set holds the audience’s attention firmly on the electricity generated by Morton’s performance and Gregory’s words.  Director John Gould Rubin ensures that every audience member is treated to moments of direct eye contact with his star, helping each segment land with a thump.  The design team of Susan Hilferty (costumes), Stephen Strawbridge ((lighting) and Leon Rothenberg (sound) moves the action seamlessly from club to studio to home.  Unfortunately, the haze meant to recall the days when smoking was allowed is an unnecessary touch that leads to more coughing and watery eyes than nostalgia.

Turn Me Loose is playing at The Westside Theater through July 3, 2016.  For Boomers, it provides a profound reacquaintance with the past.  It is my hope that younger people will also flock to see Papa Pope of Scandal tear into something more worthy of attention than his daughter’s life.  For tickets and information, visit http://www.turnmelooseplay.com.

The Humans

Broadway, Play, Uncategorized May 3, 2016 Leave a comment

Of all the plays this season, Stephen Karam’s The Humans elicited the broadest range of responses from my friends and colleagues.  For each one who put it at the top of their list there was someone who unequivocally hated it.  Now that I’m on the other side of my own viewing experience, I can see why this piece generates both broad smiles and crossed arms.  It’s a cake made with corrosive acid and vanilla buttercream frosting.  Which of these ingredients hits you harder will depend very much on your personal makeup.  The one thing you won’t feel is nothing at all.

Fittingly, the events take place on Thanksgiving, which — lets face it — even in the happiest of households is a holiday that never quite lives up to our vision.  This is certainly true for the sincerely loving Blakes, joined for the first time by the younger sister Brigid’s beau, Richard Saad.  The family is as close to typical middle class city dwellers as you are likely to find on a big stage.  Rich has inherited money in his near future and is therefore on a different plane.  Long held rituals, new practices, and lost traditions come together over the course of evening, making for an odd mixture of comfort, hope and longing.

It must have been challenging to preserve the necessary level of intimacy when the play moved from the Laura Pels Theatre to Broadway.  Multiple Tony winning director Joe Mantello accomplishes this by keeping the action chaotic and tight.  David Zinn’s set successfully recreates what passes for spacious in New York’s Chinatown: a windowless basement with a nearly windowless second story.  Justin Townsend’s lighting and Fitz Patton’s sound add layers of eeriness and occasional humor to the atmosphere.

But as the title suggests, it is the humans who stand out.  The chemistry among the actors (Cassie Beck, Reed Birney, Jayne Houdyshell, Lauren Klein, Arian Moayed and Sarah Steele) is top flight.  Their warm, genuine bond is essential to making this production a success.  No wonder of all the terrific recent collaborative works, the Drama Desk chose to honor this cast with a special award for Outstanding Ensemble.  Birney and Houdyshell are particular standouts whose every emotion can be read in their body language from the back row.

The Humans is playing at the barely comfortable Helen Hayes Theater.  If you like your theater on the raw side, this one is for you.  Tickets are currently available through July 24, 2016.  Visit http://www.thehumansonbroadway.com for more information.

The Crucible

Broadway, Play, Uncategorized April 13, 2016 Leave a comment

The last time I attended a performance of Arthur Miller’s The Crucible, I had not yet seen the McCarthy-Era set Trumbo or heard a candidate for president propose the “complete shutdown of all Muslims” entering our country.  The plot struck me as plodding and the dialogue dense.  Those recent reminders that unfounded fear can easily transform into outright hostility gave me a deeper appreciation of the unfortunate relevancy of this classic work.  This is also a superior production, boasting a first-rate cast in the skilled hands of Ivo Van Hove, a director who has become synonymous with dark and moody productions.

The entire ensemble is polished and well-matched.  Leading the way is Ben Whishaw, who at 5’9” is a decidedly unusual choice for the role of John Proctor.  Whishaw’s Proctor — described as “big” throughout the script and typically played by actors large in stature — is undoubtably substantial on an emotional level.  Sweet-faced Saoirse Ronan becomes ugly to her core as his nemesis Abigail Williams.  She is balanced by the loving and warm interpretation of Proctor’s wife Elizabeth delivered by the dazzling Sophie Okonedo.  Act Two is further brightened (darkened?) by a frighteningly powerful Ciarån Hinds as Deputy Governor Danforth.  The headliners are supported by an able troop including Bill Camp as a growingly conflicted Reverend John Hale, Tavi Gevinson as Abigail’s tool Mary Warren, and Jim Norton as what passes for comic relief in the form of Giles Corey.

Throughout the nearly three hour running time, Van Hove proves adroit at slowly building the dread to an almost unbearable level.  To emphasize the timeless cycle produced by anxiety and hate, the director moves the locale from Salem, Massachusetts circa 1692 to a utilitarian “sometime” with a set designed and lit by Jan Versweyveld.  The starkness helps the audience focus on the lightning flashes of impressive effects that pepper the action.  His actors dress in earth-toned unisex clothing by Wojciech Dziedzic, the better to disguise who is friend and who is foe.  The relentless score that buries itself in the pit of your stomach is provided by Philip Glass, master of repetitive background music.

The Crucible is playing at The Walter Kerr Theatre through July 17, 2016.  For tickets and information visit http://www.thecrucibleonbroadway.com. While I admire all the new names that have been brought to Broadway this season, I am equally thrilled to see an evergreen given such fresh life.  It sets a high bar for those to whom this serves as an introduction to the great Miller’s work.

Stupid F**king Bird

Off-Broadway, Play, Uncategorized April 5, 2016 1 Comment

Anton Chekhov’s The Seagull may have been misunderstood and poorly received in the late 1800s, but it has since become a touchstone of early modernism.  This classic, therefore, makes a perfect framework for Aaron Posner to explore the state of theater and artistic expression in the age of $350 Hamilton tickets and 31 Flavors of Cirque du Soleil.  His “soft of” adaptation, Stupid F**king Bird is sly, witty, and insightful.  It may not quite be the “new form” longed for by both Chekhov and his leading man, but it is long on originality.  It brings such fresh prospective to the Russian masterwork, one can imagine Anton himself chuckling with glee in his seat.

Don’t let the profanity in the title scare you off (or be the reason you purchase tickets).  It merely signals the open and casual nature of the script and the play within a play (sometimes within a play).  We get our first indication of this when Christopher Sears in the role of Con tells the audience to request that he and the others “Start the f***ing play!”  We are also treated to visual queues from Sandra Goldmark’s stripped down set of painted doors on wheels in front of brick walls and exposed lighting that are the background of Acts One and Three.  This works beautifully with the seemingly spontaneous songs, loose narration and talk-backs.  The compact second Act is tonally different with long introspective speeches set against a full working kitchen.  I sense it was supposed to represent a shift towards the characters’ interior life, but between the slower pace, dimmed lighting and endless tinkering with barware, it just dragged the piece down.

Similar to its role model, Bird is populated by a colorful range of diverse characters.  This makes the piece a perfect fit for The Pearl Theater, which is home to a rich stew of creative talent including a resident acting company.  In the two and a half hour running time, the cast performs comedy, tragedy, musical numbers, improv, performance art and even a pinch of dance.  The range of ability is every bit as impressive as that sounds, starting with Mr. Sears as our tortured love-sick protagonist.  As his best friend Dev, Joe Paulik is a standout as our narrator in speech and song, accompanied by Joey Parsons’ mopey Mash on ukulele.  You will appreciate the interpretation of these roles more if you (re)familiarize yourself with the original script.  All the essential elements are left intact and made even more relevant to today’s audience.  Helping us to make all the necessary connections, The Pearl provides the audience with a well written synopsis and “Insider” prospective.

Stupid F**king Bird is playing at the Pearl Theater through May 8.  For tickets and information visit http://www.pearltheatre.org.

Hamilton

Broadway, Musical, Uncategorized March 31, 2016 Leave a comment

I have two pieces of advice regarding the musical Hamilton. Number one: GO!. Do whatever it takes to get yourself a seat, short of meeting a creepy guy in a Starbucks with cash in hand. Play the lottery.  Sit in a lawn-chair in front of the theater all night. Or stick a pin in an available night in 2017. Because if ever there was a piece on Broadway that deserved to be called “must see”, this is it. And that’s not Kool-Aid talking.  The music is catchy (and, praise be, memorable).  The lyrics are clever.  And the cast is off-the-charts talented.

Number two: Whatever the components of that particular performance — whatever city you are in, wherever in the house you sit, whomever you’re with, and whichever cast members are on stage — enjoy *your* experience of it. It will only be one degree away from all the other fabulous ways you can see this show.  I heard deep sighs of disappointment when some audience members noticed that the part of George Washington was being played by Austin Smith instead of Christopher Jackson. But by the time he boomed out his farewell speech, he had won over even the most ardent fan of the soundtrack album. I have heard similar stories about several of the other standbys.  There are no weak links here.  Even if, as happened to me, Lin-Manuel Miranda is resting his vocal chords, you will not be the least bit disappointed to catch the magic of Javier Munoz in the title role. In fact, my theater friends tell me it’s become the “in” thing to grab tickets for the Sunday matinee in order to guarantee seeing his interpretation.  His vocal technique brings out more of rich seductiveness of Hamilton in contrast to Miranda’s sharp edged frustration. Both are equally important aspects of this increasingly famous Founding Father.

So strong is every player that it’s hard to single out just one or two.  But in the interest of keeping this review at appropriate blog length I’ll start with Daveed Diggs.  His flashy Franglais Marquis de Lafayette in the first Act is only topped by his effected and slightly bitchy Thomas Jefferson in the second.  Leslie Odom, Jr. makes a commanding yet penitent narrator in the form of Aaron Burr.  And how could I not give special mention to the utterly delightful and hilarious Jonathan Groff as the spitting mad King George III.  My mother is tone deaf and even she can’t stop humming his theme song.

Fortunately, all this talent is in service to a truly remarkable book, music and lyrics by national treasure Lin-Manuel Miranda.  You’ve no doubt read about how, inspired by Ron Chernow’s biography, he saw an immigrant story in Hamilton’s humble beginnings as an orphan on a Caribbean Island who is sent to New York at 14 to make his mark.  I can’t begin to fathom how he turned the revolutionary war and resulting establishment of our government into such dizzying entertainment.  Surely the word genius applies.  Deep appreciation goes out to choreographer Andy Blankenbuehler and director Thomas Kail for adding perfect movement and motion to Miranda’s work.  There isn’t a dull moment to be seen.

Best of all is the probability that Hamilton will do for theater what Harry Potter did for reading: bring in a new generation of enthusiastic participants.  There were dozens of students in the theater and their energy was thrilling.  (Special shoutout to the young man who stepped off his school bus wearing a white tuxedo jacket, black bow tie and wide smile.)

Hamilton is currently playing at the Richard Rodgers Theater.  For tickets and information visit http://www.hamiltonbroadway.com.  Sign up for email notices and/or the lottery.   And PLEASE heed the warnings about counterfeit tickets.