Tag Archives: Cathy Hammer

The Present

Broadway, Play, Uncategorized January 8, 2017 Leave a comment

(Note: This review is based on the December 24, 2016 preview performance.)

The PresentThe supremely talented Cate Blanchett has come to Broadway.  Unlike many film celebrities who flounder on stage, Ms. Blanchett is the former co-artistic director of the Sydney Theatre Company, where she also made her theater debut nearly 25 years ago.  The same incredible nuance she brings to her on-screen characters is alive and in proper proportion in her role as Anna in The Present, a modern reinterpretation of an unpublished play by Anton Chekhov.  I would recommend this show simply for the opportunity to bathe in her deeply considered and exceptional work.

Furthermore, there are additional elements to be enjoyed here.  Just as her character has invited friends to celebrate her birthday, Ms. Blanchett and playwright/husband Andrew Upton called upon close associates to share in this production.  Richard Roxburgh — who is technically the star as the pivotal Mikhail— has played opposite her many times including in Chekhov’s Uncle Vanya and The Seagull.  When I say he makes a terrific libertine, it’s meant to be a compliment.  The cast is rounded out by other actors who have collaborated frequently at STC and elsewhere.  There is an easy flow among them that only intensity over time can produce.  The range of feelings comes across as genuine even when the words sound less so.  Of particular note is Chris Ryan who gives the fragile and naive Sergei remarkable depth in his few scenes.

If you‘ve ever slogged through a so-called lost work, you can imagine that the finding of the play itself is a mixed blessing.  The original piece is a 300 page rambling tale which was locked away in Chekhov’s desk where it was unearthed after his death.   Upton is certainly skilled at updating classics, giving them new life for a modern audience.  This is a more challenging task when the piece in question has been deliberately set aside by its creator after being rejected by its intended leading lady.  Particularly adroit at restyling pre-revolutionary Russian drama, Upton has previously adapted Uncle Vanya plus two Gorkys and a Bulgakov.  For this unnamed tome, Upton chose to move the period to the more accessible 1990s and age the characters to add believable complexity to their emotional lives.  (I recommend reading his author’s note provided in the program to help you jump into the world and understand the relationships he has sculpted out of Chekhov’s rock.)

The first act of The Present is nearly two hours long, yet it moves steadily on waves of insightful conversation and palpable emotion.  It is surprisingly the far shorter second act that gets bogged down when the vodka-soaked characters more consistently speechify and the plot turns frustratingly soapy.  Director John Crowley has added a naturalness – if also an aural challenge – to the action by having his talent move about without any conventional awareness of the placement of the audience.  Alice Babidge provides a clean canvas for the colorful characters with stark scenic and costume design.  Only sad balloons and tacky streamers are employed to communicate the less-than-festive air surrounding Anna’s birthday bash.  Stefan Gregory’s edgy music and sound design add several strong jump-out-of-your seats moments.

If you relish the opportunity to see deeply connected old friends *play* deeply connected old friends, make time to catch this somewhat uneven endeavor.  Limited engagement ends March 19, 2017.  For tickets and information visit http://thepresentbroadway.com.  Shorties like me should note that the mezzanine of the Ethel Barrymore Theatre has those high hand rails attached to each aisle seat and along the edge of the balcony.  At 5’1” I was just able to see over them from the third row.

In Transit

Broadway, Musical, Uncategorized December 28, 2016 Leave a comment

In Transit Circle in the SquareIn Transit is a delightful bon-bon box of a musical.  A loose structure of interconnected stories holds together 11 appealing New Yorkers and 16 catchy production numbers.  A prerecorded introduction by the producers reminds us that all the sounds we hear are created by human voice.  The pieces are performed a cappella and the “orchestra” is a beatboxing whiz appropriately named Boxman.

As evidenced by the many hearty laughs and heartfelt claps, the tales told are highly relatable.  It’s not so much new ground broken as old ground covered in a fresh way.  A few of the jokes might be missed by those unfamiliar with the eccentricities of the New York subway.  But the human elements touched on are universal.

The foot-tapping melodies are filled with clever rhythmic wording. The feel-good energy comes from proven sources.  The book, music and lyrics come with a warm and friendly pedigree having been created by Kristen Anderson-Lopez of Frozen fame along with James-Allen Ford, Russ Kaplan and Sara Wordsworth.   Deke Sharon who worked on Pitch Perfect — the movie that brought “aca” to a wider audience — developed the splendid vocal arrangements, which tease out all the details.

In the central part of inspiring actress Jane, is the engaging Margo Seibert.  Last seen on Broadway in Rocky, she fittingly knows when to punch a note.  As her agent, Trent, Justin Guarini brings sensitivity and thought to his every line.  James Snyder is her slightly beaten-down puppy of a love interest with the gentle tone.  Their emotionally spot-on duet “But, Ya Know” is a highlight.  Providing abundant humor and attitude is Moya Angela in her roles as a boss, a mother and a station agent.

Every other part is brought to life by a large cast gifted singers.  There is unmatched support needed when every lead is also someone else’s backup. Holding them all together is Boxman, alternately played by Chesney Snow and Steven “HeaveN” Cantor.  I saw Snow handle the immense and intense responsibility of this Greek chorus/human sound machine and can well understand why it would take at least two sets of vocal chords to cover 8 performances a week.

The production is directed and choreographed with high energy by three-time Tony winner Kathleen Marshall.  She makes terrific use of her deep bench and the 3/4 round stage.  Donyale Werle creates myriad public and private spaces, and of course train cars, using brightly colored plastic seats, lighted stairways and a moving belt.  And costume designer Clint Ramos has provided easy looks plus a show-stopping gown of MTA cards.

If like me you are more than ready to inject a little joy in your day, In Transit is the perfect pick-me-up.  Running a lively 100 minutes, the show is a fit for many tastes and ages.  Tickets are currently available through June 25, 2017 at http://www.intransitbroadway.com/.  All seats at The Circle and the Square have terrific sightlines, so $89 will get you there.

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.