Tag Archives: Cathy Hammer

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.