Tag Archives: New York Theater

White Guy on the Bus

Off-Broadway, Play, Uncategorized March 21, 2017 Leave a comment
WhiteGuyontheBus

Photo by Matt Urban/Mobius New Media

It’s been disquieting to hear a certain level of weariness creeping into the general dialogue about racism.  Headlines covering people of color unfairly detained or even killed may be a near-daily occurrence, but that doesn’t make any individual event less worthy of attention or thoughtful discussion.  White Guy on the Bus provides a gripping reminder that behind each incident is a person with hope for the ones they love and a potential for fear of those who are different.  Though Bruce Graham wrote the script over two years ago, it is shockingly appropriate for a time of deepening gulfs between people of varying races, socio-economic backgrounds, and opportunities.

The time-shifting plot is beautifully constructed.  Each twist that pulls us deeper into the story also jolts us into confronting our own racists thoughts.  How many of us make quick judgements about where to sit or walk based on what we feel about a certain neighborhood?  Yet how can we deny that while such reputation is based on generalizations and stereotypes, those in turn are based on facts and figures?  What happens when we push common ground to the side and focus on differences?  It’s hard not to become as unnerved as the characters we are watching, especially if you are white as most of the audience at 59E59 is.  It is worth noting that the director is another white man.  On the audience hand-out, Bud Martin confesses to being drawn to the play primarily because the story made him uncomfortable.

Two magnetic central performances rivet our attention for the two hour run.  Tony nominated for Jekyll and Hyde, Robert Cuccioli once again displays both calm professionalism as well as a more controlling dark side.  His non-white seat-mate Shatique is played with strength and grace by Danielle Lenee´, previously nominated for a Barrymore Award for this role.  Their supporting cast is a perky Jonathan Silver as devoted like-a-son Christopher, a steady Susan McKey as Ray’s feisty wife Roz and a far weaker Jessica Bedford as Christopher’s righteous wife Molly.

The simple yet clever set is designed by Paul Tat DePoo III and enhanced by Nicholas Hussong’s projections.  Together they move us from Ray’s stunning suburban home, to the critical public bus and to points beyond.  Wade Laboissonniere’s costumes fit the characters in all meanings of that word and help sell important details of the story.

As a five character one-set piece, White Guy on the Bus is attractive to small theater companies with tight budgets.  It has already played Wilmington, Trenton, Denver and Chicago and I imagine it will hit other cities with mixed populations.  That it should also spark discussion wherever it lands is exciting.  You can grab your chance to participate in the conversation by catching it at 59E59 through April 16.  For tickets and information visit http://www.59e59.org/moreinfo.php?showid=252.

Come From Away

Broadway, Musical, Uncategorized March 12, 2017 Leave a comment

[4]_Jenn Colella and the cast of COME FROM AWAYWhen the air space above New York closed on 9/11, nearly 7000 passengers were diverted to Newfoundland off the coast of eastern Canada.  That airport had retained several large runways dating from a time when flights between the United States and Europe had to stop and refuel.  Suddenly inhabitants of this 43,000 square foot island had to prepare to double their population for an unknown duration.

A new musical, Come From Away, follows some of their stories, as weary and frightened travelers engage with small town residents.  There aren’t many unexpected plot twists here.  But following their emotional detour is a generally delightful experience.  Frankly in our current often divisive climate, it feels good to be reminded that even at the darkest moments strangers can find many ways to come together.  Perhaps with this in mind, the production has added a page to their website where audience members can dig deeper into the history that inspired such an unlikely Broadway offering.  (I recommend at the very least pulling up the photo of the air strip with 38 jumbo jets parked nose to tail.)

This is very much an ensemble piece.  Each actor portrays multiple characters, usually switching roles with the addition of a hat or jacket and a change of accent.  (Special acknowledgement goes to dialect coach Joel Goldes for helping the actors capture the special Newfoundlander cadence and to costume designer Toni-Leslie James for supplying the perfect wardrobe pieces.)  The entire cast is strong and it is to their credit that within a short period we feel for each and every one.  Past Obie winner Joel Hatch represents two mayors who pitch in with different styles and equal verve.  Jenn Colella takes on a pioneering airline pilot and an oft-smitten assistant principal with the same amount of compassion and insight.  It falls to Q. Smith as Hannah to carry the weight of the desperate mother who doesn’t know the whereabouts of her firefighter son.  One by one the voices of many cultures are heard.

Christopher Ashley’s staging is remarkably clever, using mostly lights and a few chairs to convey many locations from inside a plane to inside a schoolhouse.  Lovers of big musical numbers may be disappointed, however.  The work by Irene Sankoff and David Hein is more of the storytelling-set-to-tunes variety.  Dance Captain Josh Breckenridge has provided some movement, but nothing that could be called a dance number.   Lyrics do their job in moving the plot forward, but aren’t particularly clever or catchy.  Songs are nicely executed and have wonderful echoes of the Irish ancestry shared by the majority of Newfoundlanders, but there isn’t a great deal of variation.  In fact, it wasn’t until the post-bow jam session that I was able to fully appreciate the band’s talent.

Judging from the prolonged standing ovation, I’m not the only one who thinks Come From Away is a welcome addition to lineup for this season.  The show is recommended for ages 10 and over and for a change I can say that entire age range will be engaged by what they see and hear.  Running time is a compelling 100 minutes.  Tickets for the run at the Gerald Schoenfeld Theater are available for the remainder of 2017 at http://comefromaway.com.

Waitress

Broadway, Musical, Uncategorized February 5, 2017 Leave a comment

Waitress MUSICALORIGINAL BROOKS ATKINSON THEATRE 256 W. 47TH ST.The sweet story of a sorrowful originator, the soaring melodies of Sara Bareilles, and the soulful voice of Jessie Mueller blend like butter, sugar, and flour. Together they produce a tasty joy-inducing creation that was nominated for four Tony Awards in 2016. Regular readers of this column know I am not the world’s biggest fan of modern day musicals, but I honestly can’t wait to see Waitress again. And I’m not just saying that because the entire theater smells like pie.

The movie on which it is based is among my favorites.  It may not possess a philosophical depth worthy of extensive examination, but at its core is some spirited girl-power.  I was therefore quite trepidatious when I heard it was coming to Broadway at all much less in musical form. But Bareilles’s music and lyrics along with the book by Jessie Nelson have preserved all of Adrienne Shelly’s original laughs, aches and gentle twists and added an extra layer of celebration in song that — puns aside — hits all the right notes. The numbers are so genuinely stirring, it’s fitting that the cast hosts regular karaoke nights for audience members who want to take a turn singing one.  (Remembering my mishap while attempting to replicate Baby’s leap at the end of Dirty Dancing, I refrained.)

In the lead role of Jenna, the unhappy pregnant waitress who escapes into her pie recipes, is Mueller, still with a touch of Carole King in her phrasing.  Despite her radiance, the rest of the company is so terrific that she’s in constant danger of being upstaged.  Her inappropriate love interest is portrayed with endearing charm by Drew Gehling.  The perky Caitlin Houlahan and booming Charity Ang´el Dawson play her two co-workers Dawn and Becky like perfect bookends.  Each has a solo that threatens to bring down the house.  But it is Drama Desk and Outer Critics Circle winner Christopher Fitzgerald as Dawn’s besotted beau Ogie that elicits the loudest round of cheers for his eccentric rhymes and original dance moves.

The team is in the mighty hands of director Diane Paulus, who also steered the Tony winning revival of Pippin.  Using Scott Pask’s welcoming diner setting as an anchor, she moves her cast fluidly through their small southern town, adding wonderful touches of physical comedy to each performance.  Christopher Akerlind’s lighting and Jonathan Deans’ sound keep the audience focused.  (At least that’s why I think I missed seeing an entire band on stage for the first 15 minutes.)  Suttirat Anne Larlarb’s costumes are appropriately whimsical.

The inclusion of decidedly PG-13 material causes the show to be a little awkward for some families, but the blend of playfulness indulged and lessons learned makes Waitress a generally appealing choice in these overwhelming times.  Tickets for the open-ended run are available at http://www.brooksatkinsontheater.com.

The Liar

Off-Broadway, Play, Uncategorized January 27, 2017 Leave a comment
Set Design ALEXANDER DODGECostume Design MURELL HORTON Lighting Design MARY LOUISE GEIGER Original Music ADAM WERNICK Sound Design MATT STINE

Kelly Hutchinson and Carson Elrod in The Liar Photo Credit: Richard Termine

Decidedly cute, The Liar, is currently brightening the Classic Stage Company just off Union Square.  This quick-paced farce is adapted by David Ives of Venus in Fur fame from a comedy written by Pierre Corneille, a man known better for his well-received tragedies.   The light-hearted (and one could say well-timed) story centers on Dorante, a man who tells lies as easily as he skewers his friend with an invisible sword.  Written in iambic pentameter — including a few lines purloined from mighty Shakespeare — the crafty script is dotted with modern references to personal ads, fraternity handshakes, and general self-awareness.  This keeps the 17th century spirit intact while making the work relevant and entertaining for a broad audience.

Director Michael Kahn commissioned the piece in his role as artistic director of the Shakespeare Theatre Company in Washington DC, where it received a world premiere in 2010.  A quick perusal of the Who’s Who reveals a seasoned cast well connected with both the director and the writer, as well as a number of quality Off Broadway houses.  The results are surefooted if not stunningly original or particularly generous to audience members seated on the sides of the 3/4 round.

As portrayed by Christian Conn, Dorante is smooth if somewhat lacking in the necessary magnetism to fully hold the center.  He keep things flowing as fluidly as the falsehoods roll off the rogue’s tongue.  As the object of his current fancy, Clarice, Ismenia Mendes delivers too many of her lines at a high pitch squeal, leaving her nowhere to go as her situation escalates in intensity.  Amelia Pedlow in the role of Lucrece has slight advantage as her character is silent for much of play’s first half, allowing her to step into her own power in Act Two.

These leading players are greatly upstaged by the stars of the subplot, starting with Carson Elrod as the loyal and eternally truthful Cliton.  His joyful performance perfectly balances physical and verbal humor to delightful effect.  Even better is Kelly Hutchinson who by all appearances is having the time of her life playing twin sisters Isabel and Sabine. Kudos to wig and hair designer J. Jared Janas for finding the perfect clip-on to aid Ms Hutchinson in her rapid changes between the two.

Scenic designer Alexander Dodge supports the lively pace, keeping settings simple with a few flown-in paintings and chandeliers and other set pieces pushed into place by the characters.  Award winning costumer, Murell Horton, decks the cast in easy to move in gowns and tunics with a nod to the proper period.  Original music, which adds a frothy layer, was developed by Adam Wernick in his CSC debut.

Great for a date and a safe bet for Mom, The Liar provides a carefree, low stakes two hours.  Tickets are available through February 26, 2017 at http://www.classicstage.org/season/the-liar/

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.

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.