Natasha, Pierre and the Great Comet of 1812

Broadway, Musical, Uncategorized December 17, 2016 Comments: 2
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photo by Chat Batka

When it comes to Natasha, Pierre and the Great Comet of 1812, I am of two minds. My first mind was captivated by the elaborate and imaginative stagecraft. The scenic design by Mimi Lien reaches all the way to the back row of the theater, with drapery-covered walls dotted by family portraits.  Throughout the mezzanine, golden end tables adorned with  artificial candlelight are placed every fourth seat. Down below, the stage is divided into several sections representing Pierre’s study as well as the salons and ballrooms of other aristocratic homes in Moscow.  Each area has audience and orchestra members interspersed. A maze of platforms and ramps allow dancers and singers to encircle viewers with ecstatic performance.  This has the added benefit of ensuring an immersive experience no matter where you sit. For Rachel Chavkin’s inspired undertaking of direction alone, I would recommend this upbeat event to some.

However, my second mind was numbed by Dave Malloy’s pedantic and instantly forgettable musical numbers. I have experience playing in a Renaissance orchestra and I’ve studied jazz piano, so I’m pretty good at picking up a tune. Yet there was not one number from this show that I could remember by the time I reached  7th Avenue. Using phrases from Russian folk tunes is clever, but it is simply irritating when long stretches of dialogue are set to the same five note pattern.

I attended on a night that Josh Groban was unavailable. His standby Scott Strangland, who sang the role of Pierre in Boston, is a more solid figure with a similar vocal style. (To those thinking perhaps this is why I am less praiseful than some, I quickly add that this is very much an ensemble piece.) Standouts in the cast include the expressive Amber Gray who purrs as Hélène a manipulative  adulteress and a delicious Lucas Steele as her rakish brother Anatole.  Both are holdovers from the Ars Nova production.  On the other end of the spectrum is Grace McLean who for her Broadway debut has been taught that a pitchy screech is a great way to communicate high emotion in her role as matron Marya D.

To the credit of the entire cast, I heard each and every line.  I would still recommend that anyone unfamiliar with War and Peace read the synopsis and study the family tree provided in the program.  The primary source for the libretto is a 1922 translation by Aylmer and Louise Maude.  Covering a mere 70 pages of the classic work, the plot stops at a major turning point for the lead characters, which isn’t a very satisfying place at which to end.  While I admire Malloy’s ambition, his lyrics are insipid with little clever turns of phrase beyond the opening number.  I don’t expect everyone to be Lin-Manuel, but I did anticipate shrewder storytelling.

There are times when Bradley King’s lighting and Nicholas Pope’s sound are so frantic their design feels like being on a date with someone who’s already won you over but keeps trying so hard that you start questioning your initial impressions.  Paloma Young’s costume topped off with Leah J. Loukas’s hair and wig design are as period-punk-playful as necessary to support Ms. Chavkin’s creative vision as well as the exuberant movement of the ensemble.

Natasha, Pierre and the Great Comet of 1812  is certainly a joyful one-of-a-kind experience though built around a sadly bland musical score.  It is playing at the newly curtailed and quite comfortable Imperial Theater.  A new block of tickets through September of 2017 is on sale at http://greatcometbroadway.com.

The Illusionists ●Turn of the Century

Broadway, Play, Uncategorized December 5, 2016 Comments: 2

illusionistsBefore reading on, you should know that I LOVE magic.  I have binged on Penn and Teller: Fool Us and have a serious crush on Ricky Jay.  I didn’t even hate Now You See Me 2 and it was spectacularly awful.  In short, The Illusionists ●Turn of the Century is my kind of crowd pleaser.  I am obviously not alone.  This is the third time this franchise has hit Broadway for the holidays and for the most part it delivers.

The usual magical acts are all here: a lady sawed in half, a floating ball that lights up a backdrop night sky, and birds out of handkerchiefs and in one case out of another bird.  While they are all skillfully executed it is not for them you should pay Broadway prices.  It is the more uncommon, and in some senses subtle performers, that are the bigger draw, starting with The Grand Carlini. This ingenious character — a magician marionette who performs his tricks through the hands of Spanish illusionist Justo Thaus — is not only the most original in the line-up, but also the most firmly planted in the “Turn of the Century” portion of the title.  The effect is captivating and a true marvel.  I have deliberately chosen not to include a photo of this section so that it can reveal itself to you in real time.

Another memorable duo is Dana Daniels (the Charlatan) and his psychic parrot Luigi.  Their family-friendly routines are so hilarious I was actually able to make someone laugh until they cried just by describing them.  A completely different kind of cute arrives in the form of Jonathan Goodwin, The Daredevil.  (Apparently there was at least one Equinox open in 1903.)  He is a returning character and audience favorite from The Illusionists’ last New York run.  As the only member of the cast who does not rely on slight on hand, he delivers the most gasp-inducing moments in the show with his Houdini-inspired stunts.  Among the more familiar acts, Austrians Thommy Ten and Amelie Van Tass (The Clairvoyants) stand out.  You may have seen these “what am I holding” theatrics before, but never with such a level of detail.  No wonder these partners were awarded the infrequently bestowed title World Champions of Mentalism.

Much of the suitably over-the-top atmosphere comes from the choice of The Palace Theater as home base.  The 1913 vaudeville house was renovated by the Nederlanders in the mid-sixties, but retains its somewhat gaudy features.  These have been enhanced by scenic designer Todd Ivins.  (A few of the parlor tricks are carried out in an actual parlor setting.)  At times, handheld cameras feed an ornate center screen in order to project smaller movements beyond the first few rows.  Angela Aaron’s period costumes add lovely flair as does the eerie music of Evan Jolly.

The quick pace and ever-changing mood of The Illusionists ● Turn of the Century make it an obvious choice for parents seeking special seasonal entertainment that everyone can enjoy.  With its good-natured spectacle, the show also seems like great date material.  Performances run through the first of the year at the Palace Theater.  For tickets and information visit http://www.theillusionistslive.com/turnofthecentury. Remember to dress well; about a dozen audience members wound up on stage.

Heisenberg

Broadway, Play, Uncategorized November 24, 2016 Leave a comment

HeisenbergMTCFriedman TheatreIf the name “Heisenberg” has frightened you into thinking this is a dense play about quantum mechanics, never fear.  It is, rather, about the most everyday of occurrences: two dissimilar people getting to know each other and determining the substance of their relationship.  Like protons, can they come together to form something bigger and more powerful?  And if they do, what is the potential for that configuration to change?

The series of somewhat commonplace conversations about life, work, and love is made compelling by two gifted actors: Denis Arndt as Alex and Mary-Louise Parker as Georgie.  The disparity in their ages is the least significant of their differences.  I had heard about their incredible chemistry, but that’s not the word I would use to describe their bond.  What flashes between them struck me as more skillful than emotional, like trapeze artists who know exactly when to extend their arms even when there is no music.  There is much communicated in a simple smile or touch.  But it is absorbing artistry, not as impassioned as I expected.

The slow-burn of personal revelations is pepped up with flashes of humor and provocative uncertainty.  Simon Stephens, who so brilliantly adapted The Curious Incident of the Dog in the Night-time, has here provided a simple dialogue with a intriguing angle.  We learn fairly early on that Georgie can tell a convincing and detailed lie.  That makes everything she says and does suspect, even when she’s admitting to lying.  It’s a tribute to the characters’ development — their ultimate sweetness and vulnerability —  that I found myself wondering for days whether the key turning points of their journey together stemmed from genuine crisis or Georgie’s well-constructed (possibly dubiously motivated) flights of fancy.

Heisenberg was commissioned by Manhattan Theatre Club and played off-Broadway last summer at City Center. Within its new Broadway home, director Mark Brokaw has recreated the proper space for his intimate yet significant production, greatly reducing the size of the stage by placing 200 members of the audience in seats on the stage.  The feeling is more of a small town sports arena than a professional New York theater, which is no doubt intentional.  With limited room to move, the two actors can’t help but confront each other at every turn. in action as well as in word.  Outlines of locations from a train station to a butcher shop to a hotel room are defined by scenic designer Mark Wendland using folding tables and chairs. Scenic beats are created with Austin R. Smith’s lighting and David van Tieghem’s sound.

Three of the closest people in my life I met randomly through uncharacteristic circumstances.  So it is not a surprise that the underpinnings of Heisenberg resonated with me.  If you, too, know that experience of a chance encounter that alters your life or you simply enjoy seeing potential unfold between strangers, then you will find Heisenberg an engrossing way to spend 80 minutes.  It is playing through December 11, 2016 at the Samuel  J. Friedman Theater.  For tickets and information visit http://heisenbergbroadway.com.

Don’t You F**king Say a Word

Off-Broadway, Play November 13, 2016 Leave a comment

We’ve all experienced being engrossed in a book only to have the plot fall apart in the final chapter.  Don’t You F**king Say a Word is the theatrical equivalent.  For the first hour the characters and conversation are suitably diverting, but when the inciting incident that provokes the title phrase finally occurs, it is a faint shadow of what we’re expecting.

Playwright Andy Bragen’s background is as a solo performer. In terms of its structure, phrasing and delivery, his script mostly plays out like another monologue only with the lines divided between two people. Interrupted by an occasional exchange, Kate and Leslie speak directly to the audience, taking us through the central relationships over the course of a few years.  Their fast patter creates momentum that is stronger than the described events ultimately achieve.

Sprinkled throughout the snappy script is some important if pat commentary about gender and different views towards competition. The collapse of the playwright’s case begins once the action moves from rapid scenes around New York City to a more traditional living room conversation.  The centrifugal force that has kept us spinning winds down and we along with it.  Breaking the fourth wall is an acceptable convention, but the same exposé doesn’t hold up when the characters are directly talking to one another.  We are confronted by a barrier comprised of false tone, unbelievable mechanics and a waning interest in the characters’ circumstances.

I appreciated and then blissfully forgot the colorblind casting. It was far more difficult to overlook the selection of Jennifer Lim and Jeanine Serralles as supposed college friends who nonetheless appear 10 years apart in age.  I also could not understand how two graduates of Yale’s MFA program didn’t manage to project past the third row.  It is one thing to address the audience and another to speak in the hushed tones you’d actually use if you were in public conversation.  As their romantic partners Russ and Brian, Bhavesh Patel and Michael Braun perfectly paint the landscape that lies between friendly rivalry and grudge match.  Their quivering body language and subtle changes in timbre were realistic and familiar.  (At least that’s the impression of this middle-aged female.)

The direction of Lee Sunday Evans is imaginative, defining several tough tennis matches with a series of frozen poses that work well for the constricted space and time.  Her creative vision is well supported by the simple and clever sets by Amy Rubin and the no-frills costumes designed by Asta Bennie Hostetter.

Don’t You F**king Say a Word is the first production of the writer-centric ABTP.  It is, therefore, doubly disappointing that it is not a fully realized piece, but rather a reflective soliloquy spread too thinly among four people and over 85 minutes.  It is playing at 59E59 through December 4.  For tickets and information visit https://www.ticketcentral.com/59e59/

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 Comments: 2

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.