Fruiting Bodies

Off-Broadway, Play, Uncategorized April 29, 2019 Leave a comment

The fog-bound woods of Bolinas are the setting for the Midsummer Night’s Dream-like meanderings of the characters at the center of Fruiting Bodies.  In reality, this town is as described by Asian-American playwright Sam Chanse: deliberately secluded from the rest of the Northern Bay Area by the townspeople who removed the highway signs that marked the exit.  Though there is no fairy Puck, there is a sprite of sorts: A Boy who by turns is the brother/son, an abandoned 10-year-old, and a giant talking mushroom.  All of them influence the actions of Ben and his daughters Mush and Vicky.  Their environment functions as a fifth player.  The bare trees that spin as the people are drawn deeper into the landscape are paired with soft welcoming rocks in the evocative set by Reid Thompson.  Lighting design by Jeanette Oi-Suk Yew brings out a magical quality and Kate Marvin provides nature’s moody background music.  Costume designer Sara Ryung Clement provides Vicky’s Instagram-ready outfit and the rest of the workhorse wardrobe.

In biology, the “fruit body” is the sexual phase in the lifecycle of fungi.  At their most literal, the mushrooms on the forest floor are the fruiting bodies of Chanse’s visionary world.  Each grows from a rotting tree, releasing spores into the air as it attempts to start new life.  The family members are also struggling to leave a mark on the world, one quite literally.  Yet each one has a passion that is met with disapproval.  They were at some point connected, but that body has been rotted by disagreement and negative judgment.  It’s a melancholy but recognizable sensation that Chanse evokes beautifully and poetically.  

As the piece opens, the sisters are in Vicky’s treasured Tesla on their way to Bolinas to pick up their father who has gotten lost in the woods. The third generation Japanese American has gone mushroom hunting, a pastime that according to his Japanese tradition can bind family members together.  But fittingly for the increasingly addled Ben, he has forgotten to bring younger daughter Vicky as promised.  Instead, he has meet up with a young boy whom he mistakes for his son Eddie, the first sign that Ben’s mind isn’t what it once was.  The sisters are also disconnected.  The gulf that started to form years ago when their Finnish mother left has deepened now that Vicky is proudly at work on a communication app and activist/artist Mush has the lofty goal of cleansing the world of preconceived notions of beauty and power.

Fruiting Bodies is still developing, having been fostered by the creative environment of  the Ma-Yi Writers’ Lab.  Along the way to opening night, the work shed about 35 minutes and an intermission, leaving a still leisurely 100 minute experience.  Like mushrooms in a pan, there are many concepts being tossed about. Big themes including homophobia, ethnicity, and the power of celebrity are introduced alongside more everyday family conflicts.  The play is as much about mood as it is about substance. Throwing morels, buttons, and chanterelles into his paper sack, Ben quite literally goes through the day with a mixed bag and in a fog.  For all his intentions to serve as model head of the household, he can’t seem to see his son and daughters clearly enough to genuinely bond with them.  Some may find the ending less a conclusion and more a stopping point on a longer path.  The playwright seems to have done this deliberately given that two of the most heated arguments are given simultaneously, sometimes blending, but just as often drowning each other out. 

Kimiya Corwin, Emma Kikue, Jeffrey Omura and Thom Sesma

Kimiya Corwin, Emma Kikue, Jeffrey Omura and Thom Sesma; Photo by Carol Rosegg

Director Shelley Butler knows how to get the most from her nimble cast and wonderland scene.  In Thom Sesma’s hands, Ben is both sympathetic and maddening, taking joy in some moments while completely oblivious to others.  Kimiye Corwin and Emma Kikue don’t yet have the chemistry of the sisters, though both are highly skilled and may find the right rhythm.  The role of The Boy and his many facets is the most challenging and Jeffrey Omura flits expertly among them.  His shifts from teenage exasperation to slightly menacing creature of the dark are executed with ease and limberness.  

Though a little thin on plotting, Fruiting Bodies make for an entrancing event.  For a brief time, you’ll be pulled away from your everyday experience and into these enchanted woods.  It is playing through May 19 in the Beckett Theater in Theatre Row (410 W. 42nd Street) in Manhattan  Tickets range in price from $32.25 to $42.25 and can be purchased by calling Telecharge at 212-239-6200 or online at www.telecharge.com.  More information is available on The Ma-Yi Theater Company website at www.ma-yitheatre.org.

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All Our Children

Off-Broadway, Play, Uncategorized April 14, 2019 Leave a comment

At a time when the US government has been separating families at the border, All Our Children sends an impassioned message about the responsibility we share as a society to protect the most vulnerable among us.  The play by Stephen Unwin is a work of fiction based on true events that took place in Germany between 1939 and 1941.  In a lesser-known chapter from that time, the Nazis sent 100,000 mentally and physically impaired people to the gas chamber.  It was felt that their deaths were efficient and even compassionate since these citizens could never properly contribute to the development of the Third Reich.

The intentionally claustrophobic piece is set entirely in the office of Victor Franz, a doctor whose clinic has been repurposed to quickly diagnose and dispatch the children under his care.  Director Ethan McSweeny has staged the work in the round so that the audience encircles the doctor, witnessing the slow dismantling of the acceptance he has maintained of his role in these casual murders.  The audience in turn is enveloped in a wall of file cabinets which contain the children’s medical files, a powerful image in the minimalist set by Lee Savage. Somber radio music, part of Lindsay Jones’s sound design, is used to effectively illustrate the passage of time.  Simple period costumes by Tracy Christensen complete the look and tone, sending us back to that horrible period.

Karl Kenzler brings a combination of gruffness and vulnerability to his role of Dr. Franz as he ping-pongs between professional obligation and personal discomfort.  But the actor cannot escape the circular emotional arc with which the character is burdened.  Unwin is a seasoned director and teacher and this is his first time as playwright. The results are heartfelt but thinly executed.  The other four characters are drawn in stark black or white, a weakness that often plagues stories that involve the Nazis.  Furthermore, Franz’s tolerance for many of his encounters isn’t properly explained or realistically motivated.

KARL KENZLER and JOHN GLOVER Photo by Maria Baranova

KARL KENZLER and JOHN GLOVER, Photo by Maria Baranova

Among Franz’s foils are his pious maid, Martha, (a fluttery, sweet Jennifer Dundas) a genuinely caring woman who tries to reconnect him with his sense of responsibility to heal and give comfort to his young patients.  There is also Elizabetta (a too broad and harsh Tasha Lawrence) representing all the grieving mothers who love their children no matter their limitations.  Most important is Bishop von Galen (the always excellent and engaging John Glover) who attempts to appeal to Franz’s long-lost soul.  Counterbalancing them all is the clinic’s administrator, Eric (an appropriately oily Sam Lilja), who is not only a member of the SS, but also guilty of statutory rape.  He’d be twirling his mustache if only he had one.  It is only his embodiment of pure evil that eventually breaks through Franz’s trancelike state.

Recommended for ages 13 and older, All Our Children lacks nuance, but delivers on its examination of a particularly shameful practice. It is playing through May 12th in the versatile Black Box Theater at The Sheen Center, a project of the Archdiocese of New York.  Runtime is a scant 90 minutes with no intermission.  Tickets are $65 and $80 for general admission and can be purchased at https://www.sheencenter.org/shows/allourchildren/2019-04-06/. For those wanting to delve deeper into the topic, post-performance talkbacks are scheduled throughout the run.  The play is also accompanied by an exhibit in the Sheen Center gallery, Little Differences: The Portrayal of Children with DisABILITIES Throughout History.

The Owl Girl

Off Off Broadway, Play, Uncategorized March 17, 2019 Leave a comment

Many writers have examined tensions in the Middle East, a particularly thorny issue.  Playwright Monica Raymond does so with a poetic eye in her new work, The Owl Girl.  Taking the conflict to an absurdist extreme, she distills the historic schism down to two families — one Arab and one Israeli — and places them in the same dwelling.  Both can reasonably claim ownership of the home.  Zol and Leedya were raising their teenagers, Joze and Anja, in the house when they were all sent to a camp in the West Bank.  Rav and Ora then purchased the property for their family, which includes daughter Stel and young son Capi.  

Stel still feels the spirits of the other children in her room, where she chooses to keep two marks on the wall that indicate Joze and Anja’s heights at the time they were forced to leave.  Meanwhile in the camp, Joze has also started to feel a draw, eventually convincing his father to give him the key to the old front door so he can visit one last time.  He happens to choose a night when Stel is home alone and the two form an instant connection.  Stel invites Joze to come back, but when he does, his parents and sister follow.  Rav, Ora, and Capi return, and the eight decide to share the space as a cultural experiment.

OwlGirl

Yaara Shilony and Julian Alexander as Stel and Joze in The Owl Girl

Raymond employs a number of metaphors to make her points about battles ideological, cultural, and territorial.  The most graphic of these symbols is the Owl Girl of the title. Anja stopped developing at the age of 13, literally stunted by losing her place in the world.  Stuck in exile, she fell under the spell of her rage-filled grandmother. Since Anja hasn’t matured into a woman, she tries on a number of animal personas, settling on the owl.  These birds represent power and destruction in her culture, but also possess vision and insight.  Returned to her rightful station, she not only starts menstruating, but swoops about the house, eventually sprouting literal wings in order to gain a better vantage point.

Ms. Raymond has been developing this piece for 15 years, and some sections flow with the passion she obviously feels for her subject.  Her understanding of the thin line that can exist between enemies is well articulated, at one point represented by a literal string running down the kitchen.  Her use of magic helps her reveal emotions that can be difficult to articulate.  But she defuses her message by adding too many layers.  There are aggressive chess matches, a hellish hidden room, and a jar of mysterious ointment.  Then in the middle of the second act, Raymond introduces a subplot involving the lust Rav feels for Anja.  Eventually, like a child’s painting, the metaphors are so thick that they turn muddy.    

The Owl Girl is presented by THML, a majority female-run theatre company that promotes stories by and about women.  It is therefore unsurprising that the exchanges that have the most rhythm are the ones between the two mothers. They share a frustration with their sexists husbands and are both raising challenging younger children. Ora and Leedya bond as almost any two women will eventually do, finding common ground and poking a little fun at their differences.  Director Bryan Raanan Kearney who plays Ora has good timing and provides some comic relief.  The other relationships don’t work at least in part because many of the actors are miscast.  One in particular is the wrong age and ethnicity and has not gained mastery over an unnecessary accent. The exception is Julian Alexander, who brings a delightful softness and sense of wonder to Joze.

Having  received awards from the Castillo Theater, Peacewriting, Portland (Maine) Stage, and the Jewish Plays Project, The Owl Girl is a promising work that still needs to find a clear voice.  It is playing through March 20 at The Center at West Park, upstairs in the Balcony Theater.  Tickets are $30 and can be purchased at https://www.eventbrite.com/e/the-owl-girl-tickets-53977563345.

The Cake

Off-Broadway, Play, Uncategorized March 5, 2019 Leave a comment

The Cake is like one of those imperfectly filled jelly donuts: a few sweet spot surrounded by too much bland.  At a time when we could use serious conversation and considered insight into the critical issues that divide us as a nation, this comedy by This Is Us producer Bekah Brunstetter offers too little that is satisfying.  Though it concludes with some timid steps towards a “love is love is love” message, it gets there via worn out arguments on both sides of the issue of gay marriage.

Fans of That 70s Show may delight in seeing Debra Jo Rupp as Della, the owner of a sweet shop in Winston-Salem North Carolina (Brunstetter’s home town) about to find fame on a national baking show.  Her opening monologue cleverly lays the groundwork for the rigid discipline Della applies to all areas of her life.  Soon after, she is reunited with Jen, her deceased best friend’s daughter, who is in town preparing for her October wedding.  Initially Della is thrilled when asked to provide the wedding cake.  But when she discovers Jen’s intended is another bride, she clumsily rescinds the offer.  Their ensuing awkward discussion leaves both Della and Jen rattled and searching for the roots of their beliefs and accompanying feelings of shame.

Director Lynne Meadows does her best with a space that is too wide for a story this intimate.  Rupp is her usual perky self, delivering most of the better lines with comic flair.  To some ears, Della will simply come across as a bigot (though a chirpy petite one) who uses someone else’s pleasure and pain to mend her own relationship.  But there are moments when Della’s turmoil feels genuine.  Rupp is most grounded in her scenes with Dan Daily, who has the most joyful character arc in the role of her domineering husband, Tim.  (Daily also provides the voice of the appropriately oily George, the host of the American Baking Show who functions as Della’s conscience.) 

Rupp and Angelson in The Cake. Photo by Joan Marcus

Rupp and Angelson in The Cake. Photo by Joan Marcus.

The relationship of the lesbian couple is more problematic. Disappointingly, though the words are often there — particularly in Jen’s vivid and horrifying description of her heterosexual encounters — there is no palpable connection between the two actresses. The fresh-faced Genevieve Angelson brings a sweet restlessness to Jen as she is tossed between the realms of her conservative childhood and newly found freedom discovered in New York.  As her betrothed, Marinda Anderson gives Macy some well-earned rough edges, though the script occasionally requires her to speechify.  But as a couple, they never seem to click.

The overall look of the piece is spot-on.  Scenic designer John Lee Beatty has chosen candy colors to surround his baker, with mint green and strawberry cream pink swirling through her shop and home.  In contrast, the engaged couple is staying in the only earth toned room on the set.  Wardrobe by costume designer Tom Broecker follows a similar scheme, with Jen alternating palates.  Philip S. Rosenberg’s ’s lighting sharpens the intensity of Della’s inner dialogue and softens the conversations between lovers.  

With The Cake, Ms. Brunstetter has tried to make the point that recent cultural shifts have occurred too quickly for some goodhearted people to catch up.  The irony is that since the time the play was first produced, those same shifts have given rise to a slate of superior projects with bolder things to say.  From our current cultural vantage point, this work is a disappointing use of Rupp’s comedic talent as well as a waste of several delectable-looking cakes.  

The Cake is playing through March 31 at MTC at New York City Center – Stage I.  Theater-goers under 30 qualify for special $35 tickets.  Full priced tickets begin at $89 and can be purchased online at www.nycitycenter.org, by calling CityTix at 212-581-1212, or by visiting the New York City Center box office (131 West 55th Street).  

Ajijaak on Turtle Island

Musical, Off-Broadway, Uncategorized March 3, 2019 Leave a comment

In Ajijaak on Turtle Island, chicks are hatched, buffalo dance, and butterflies flutter overhead to the delight of young theater-goers.  The multimedia piece is the creation of Heather Henson in collaboration with an array of First Nations performers and her famed father Jim Henson’s Creature Shop.  Storytelling is imparted through song, dance, and projections in addition to the expected marvelous marionettes.

Ajijaak © 2018 Richard Termine

Ajijaak on Turtle Island © 2018 Richard Termine

A synopsis is included in the program and should be shared with children before the curtain rises to help them get the most from the experience.  We are on Turtle Island — now known as North America — at a time when animals could talk to one another.  A young whooping crane named Ajijaak has been separated from her parents during a fire.  Her journey to find them on the Gulf Coast puts her in touch with deer, buffalo, coyotes, crabs and a few two-legged beings.  Each interaction teaches her something valuable and contributes to her “medicine bundle.”  These lessons will help her heal the world when the time comes to confront Mishibizhiw, the violent creature who is awakened from sleep whenever the earth is being exploited.

The visuals are quite stunning and work in harmony.  Multimedia images of nature are combined with music and movement in support of the environmental message.  Indigenous pieces by Dawn Avery & Larry Mitchell, Kevin Tarrant and Ty Defoe are punctuated by two drummer/chanters along with conventional instruments.  The script —  also by Ty Defoe based on a story by Heather Henson — is episodic, as is typical of a work geared to children.  The narrative breaks down in spots and some of the dialogue is stilted.  These weakness are largely overcome by the charm and warmth of the narrator Grandma Moon as embodied by Joan Henry.  Mishibizhiw’s entrance happens without an inciting incident, which seems a lost opportunity to really hit home the overarching theme. A highlight comes shortly after when the audience participates in the unique song meant to restore balance to the world.  It is a tune you will hear little voices continuing to sing throughout your walk to the subway, briefly pushing Baby Shark to the back of your mind.

Complementing Ms. Henry is Henu Josephine Tarrant who gives Ajijaak a soaring angelic voice worthy of a bird.  The remainder of the performers — Tony Enos, Wren Jeng, Adelka Polak, Sheldon Raymore — are uneven in skill, but all provide enthusiasm and heartwarming interaction with the audience.  Dancers Jake Montanaro, Jennifer Sanchez, Euni Shim and Dormeshia Ward fill the background and theater aisles, uplifting spirits, sometimes with the aid of kites representing, birds, butterflies and such.  Traditional dances choreographed and performed by Tarrant, Raymore and Enos add spark and authenticity.

The set by Christopher and Justin Swader features six drum heads representing the heartbeat of Turtle Island. These also function as screens for the dramatic projections designed by Katherine Freer.  Rather than the all-black garb favored by most puppeteers, these artists sport bright colors in their wardrobe designed by Lux Haac with some pieces by Donna Zakowska.  This is in keeping with the cultural roots of the characters and plays up the relationship between the animals and their handlers.  

Presented by Ibex Puppetry, an entertainment company founded by Heather Henson that creates spectacles promoting themes in support of a healthy planet, Ajijaak on Turtle Island is intended as family entertainment.  Adults firmly in touch with their inner child should find enough to engage with here.  The recommended age is 7 and up, though I saw many pre-schoolers in attendance..  Your child should be able to sit still for 75 minutes, not interfere with performers in the aisles, and hold questions until the curtain falls.  There is an opportunity for them to participate in support of Aijijaak in the way past generations clapped in order to keep Tinkerbell alive.  Performances run through March 10 at the New Victory Theater.  For information and to purchase tickets visit https://newvictory.org.

The Price of Thomas Scott

Off-Broadway, Play, Uncategorized February 20, 2019 Leave a comment

Long before there was Reverend Moore in Footloose, there was dance adversary and forceful chapel congregant Thomas Scott. Scott has been offered a small fortune for his declining neighborhood textile business.  The problem?  The new owners would turn the desirable corner location into a dance hall: a devil’s playground as far as Scott is concerned.  A righteous Protestant Nonconformist, he must now weigh his family’s future against his steadfast convictions.

Despite being written in 1913 by rising star Elizabeth Baker, The Price of Thomas Scott is brimming with modern dilemmas.  Class still dictates potential opportunity for education and career.  Our highly divided social climate is filled with the voices of strong convictions that have soured into prejudice.  Many become even more entrenched in the familiar and pass judgement on those who are open to differing opinion.  Yet as time moves forward, the seemingly outrageous and unusual can find more acceptance.

Scott’s family in question includes his far-sighted and talented daughter Annie (a radiant Emma Geer), whose creativity is stifled by her tasteless clientele.  Her brilliant brother Leonard (Nick LaMedica who does his best to come across as a teenager) has the potential to become upwardly mobile.  Their mother Ellen (an underutilized Tracy Sallows) longs to retire with her husband to Tunbridge Wells where they first met.  While Scott himself (a crackling Donald Corren)  has built his life around his chapel and now seems driven to protect everyone’s prospects for entrance to heaven.  Temptation is provided in the form of Wicksteed (a polished and eloquent Mitch Greenberg) a former friend now employed by the successful Courney Company.  The story is made richer by the Scott’s friends and neighbors played by Andrew Fallaize, Josh Goulding, Jay Russell, Mark Kenneth Smaltz, Ayana Workman and Arielle Yoder.

THE PRICE OF THOMAS SCOTT by ELIZABETH BAKER Tracy Sallows, Donald Corren and Emma Geer Photo by Todd Cerveris

Tracy Sallows, Donald Corren and Emma Geer.  Photo by Todd Cerveris.

Director Jonathan Bank is constrained in his approach, relying heavily on Tracy Bersley’s choreography to pick up the momentum.  All the action takes place in the back parlor of the Scott’s shop, represented by the perfectly rundown set created by Vicki R. Davis.  The charming mostly muted costumes by Hunter Kaczorowski tell the story of period and class in pre-WWI England.  The hats on display illustrate the gap between Annie’s instinct for style and her clients’ misguided requests.  Shifts in the lighting by Christian Deangelis and music and sound by Jane Shaw help set mood and pace. 

All are in service to the clever and often humorous words of Ms. Baker.  Growing up in a household similar to that of the Scotts, she took in her first play at the age of 30.  In short order she had transformed from an obscure stenographer to recognized playwright.  At first you may need to navigate the various accents and a few older expressions, but then the flow is established and the characters come into focus. However, the ending will feel extremely abrupt to a modern audience.  (Those around me failed to clap for a full 30 seconds, though they appeared stunned more than unhappy with the performance.) The production team seems to have recognized Baker’s departure from what has become an acceptable character arc and tacked on a post-curtain call “coda” to better manage expectation. Your reading of the Artistic Director’s statement and dramaturgical notes will help you better appreciate the work.

The Price of Thomas Scott poses some deep questions through pleasant voices.  It is Mint Theater’s latest project in support of giving new life to neglected women playwrights.   Runtime is 90 minutes with no intermission.  It is playing through March 23 at the Beckett Theatre in Theatre Row.  Full priced tickets are $65, though there are several discount options including $32 day-of Rush.  For more information and to purchase seats visit http://minttheater.org/current-production/

Bonnie’s Last Flight

Off-Broadway, Play, Uncategorized February 13, 2019 Leave a comment

Pack a bag full of whimsey and climb aboard Bonnie’s Last Flight.  This imaginative new play by the prolific Eliza Bent is taking off at Next Door at NYTW.  Your experience of the extended metaphor begins as soon as you receive your confirmation from the theater.  First class passengers are allowed to enter first and receive pre-performance wine and snacks.  (Though bibs on the back designate them as First Class, Comfort Plus or Economy, all the chairs are the same and there are no bad seats in the house.)  Upon entering, you are immersed in a representation of a cabin surrounded by oval windows and Virgin inspired overhead lighting.  Leg room is generous, though there is a limit of one carry-on per person.

Despite the title, the head of your crew is Jan. Thirty-one years ago during the rise of feminism, the then sexually naive teen found herself pregnant and alone.  She chose to carry the child to term.  Though she gave her daughter up for adoption, the chapter derailed her lifelong ambition to become a writer.  Taking a job as a “waitress of the skies” she continues to jot down ideas between trips down the aisle to serve brownies.  Her inspiration is a manic Mark Twain who is almost always by her side.  Recently accepted into a renowned Chicago based writing program, she’s finally hanging up her wings to follow her abandoned dream.

Jan’s story is one of many we learn during our fictional flight to Chicago and it is by far the most linear. The remainder of Ms. Bent’s script includes several personal episodes told by the rest of the crew as if glimpsed through cloud cover.  Jan’s counterpart is the well-meaning, high-energy and somewhat dimwitted LeeAnne who is also struggling to course-correct her life. Rounding out the cabin team is Jan’s devoted longtime colleague Greig, moved by items he finds left in seat back pockets and under seats.   Up in the cockpit is Tony, whose obviously lack of fitness to fly is one of the play’s plot holes.  His calling his co-pilot Erik “Jesus” is a running joke.  The troupe also portray other characters from the past.  To reveal more about the titular Bonnie would be a small spoiler, but she too is on board.

Ceci Fernandez in Bonnie's Last Flight. Photo by Shun_Takino

Ceci Fernandez in Bonnie’s Last Flight. Photo by Shun Takino.

In the elegant and graceful body of Barbara Walsh, Jan is a marvelous character, surprisingly well rounded and deeply sympathetic given the short amount of time we get to spend with her.  Greig Sargeant’s Greig isn’t given as much depth, but he acts as a sweet partner and balances Ceci Fernandez’s frantic and funny LeeAnne.  While those three are tonally in sync, the others seem to have stumbled in from a much more farcical piece.  The cockpit duo played by Sam Breslin Wright and Federico Rodriguez veers firmly into stock character territory.  Playwright Eliza Bent’s own clown-like Twain nearly pulls the piece over the slapstick edge, though this is apparently integral to her vision for the work.  

Director Annie Tippe cleverly choreographs the motion using the confined space defined by airplane body, aisles and jump-seats.  A good portion of the runtime is devoted to skits and business including clips of inflight movies.  This necessitates looking from side to side like a tennis match and occasionally completely turning around to see a curtained area behind you.  A few times, an unwitting “passenger” is included in the action.  Scenic design by Meredith Ries and costumes by Heather McDevitt Barton make the best of a small budget. Small overhead monitors expand the performance space and creative wigs and accessories make for quick changes.  The live action is supplemented by videos by David Pym and sound by John Gasper, which in previews had some technical glitches.  (For anyone who has tried to use Go-Go inflight wireless, this is not out of step with the rest of the gag.)

With tickets starting at $25, Bonnie’s Last Flight is a pleasant diversion, delivering some great fun and mild food for thought.  Can we lose our emotional baggage as easily as a major carrier sends the suitcase clearly marked for Rome to its hub in Abu Dhabi?  It is playing through March 2 as part of Next Door at NYTW, 83 4th Street near 2nd Avenue. Tickets are available online at NYTW.org, by phone at 212-460-5475, or in-person at the NYTW Box Office. Be warned that similar to a real flight, it will be impossible to leave before reaching the final destination.