Tag Archives: Roundabout

Chinese Republicans

Off-Broadway, Play February 27, 2026 Leave a comment

In Chinese Republicans, four women of Chinese heritage and spanning three generations are gathered for an Affinity Luncheon near their New York City office.  As co-workers at a stressful international investment banking firm, they look forward to these supportive gatherings, not to mention the turnip cakes.  Their stated purpose this time is to welcome their newest member — the pretty and giddy 24 year old Katie — and celebrate her recent promotion.  Managing Director Ellen has been acting as Katie’s mentor, giving her encouragement and hints about how best to reach the next rung of the ladder.  Corporate consultant Phyllis, who once held Ellen’s current job, plays healthy skeptic to Ellen’s cheerleader.  The most conservative of the group, she punctuates many of her observations with a pointed “Thanks, Obama.”  Also in attendance is Chinese citizen Iris.  She is in the US on a Work Visa and hoping her contributions to the firm will allow her to stay.  But from what we can see, her main responsibility is to get the lunch ordered correctly.

Over the course of numerous encounters and flashbacks, we watch the foursome jockey for position, sometimes in support of one another and more often in competition.  All four are trying to cope with pressures both cultural and corporate; sometimes responding in anger and other times tactically. Their varying viewpoints on what it means to be Chinese add an intriguing element to their sparring.

Jodi Long, Jennifer Ikeda, Anna Zavelson, and Jully Lee in Chinese Republicans; Photo by Joan Marcus

Quite a bit of obvious shorthand is used to backfill the women’s histories with the intention of clarifying their current motivations.  Such narrow definition of character leaves Jennifer Ikeda (Ellen), Jully Lee (Iris), Jodi Long (Phyllis), and Anna Zavelson (Katie) without the ability to shine at full wattage. Some right leaning political views are mixed in with the abbreviated development (whoosh hate crime, whoosh abortion, whoosh “me too”) and the placement of the action in 2019 avoids the most thorny topics.  Often director Chay Yew relies on elevated voices and manic gestures to take the place of more involving connection.

Playwright Alex Lin has generated enormous enthusiastic buzz, most recently for her Lear-inspired Laowang.  In Chinese Republicans, what she sacrifices in keener character arcs, she makes up for in startling imagery.  She demonstrates a flair for switching tones from heart attack-inducing conflict to door-slamming farce.  Based on Lin’s obvious talent and genuine interest in her subject matter, there is a deeper, more distinctive, and less strident script just beyond our reach. While it certainly never gets boring, as the piece approaches its final 15 minutes the plot losses focus.  

The play’s atmosphere is nicely detailed.  Costume designer Anita Yavich provides a wardrobe made for code switching, mixing business attire with Asian-inspired accessories.  The sound design by Fabian Obispo incorporates original music and big city hubbub. Impressive sets by Wilson Chin include an attractive modern restaurant and the imposing wall of the investment firm.  To prepare for the varying degrees of fluency in Mandarin, Cantonese, and English, the company enlisted dialogue coach Ka-Ling Cheung.

With a great deal to say and an unconventional blending of styles, Chinese Republicans is both a thrilling and a frustrating ride. The World Premiere production, part of Roundabout’s 2025-26 season, continues through April 5.  Performances are at the Harold and Miriam Steinberg Center for Theatre, Laura Pels Theatre, 111 West 46th Street.  Running time is 95 minutes without an intermission.  Seat prices range from very reasonable $69 – $102. The venue has superior sight lines and a small cafe on the lower level.  Visit https://www.roundabouttheatre.org/get-tickets/2025-2026-season/chinese-republicans?url=/get-tickets/2025-2026-season/chinese-republicans for more information and to purchase tickets.

Archduke

Comedy, Drama, Off-Broadway December 1, 2025 Leave a comment

Of all the action leading up to World War I, the chapter most remembered by students of that era is the assassination of Archduke Franz Ferdinand, heir to the throne of the vast Austro-Hungary empire.  In Archduke, playwright Rajiv Joseph focuses less on explaining the political situation and more on the young, inept members of the assassination team.  Less interested in portraying history than in tinkering with it, Joseph compresses the time frame and leverages the lore surrounding the trio, particularly the role a sandwich played in the mythologizing of the bungled plot.

Set in the days leading up to the murder, there exists in Archduke a backbone of facts, from an overview of essential geography to pairs of uniting black gloves, a nod to the Black Hand nationalist group that aided in the real boys’ training.  Joseph recruits the Serbian Nationalist army officer and likely organizer of the plot, Dragutin Dimitrijević — better known by his nickname Apis — as a main character.  Religion is both a comfort and a tool for manipulation, with dreams, beliefs, and conscience playing roles equal to struggle for state independence.  In concentrating his story on the indoctrination of vulnerable teens, Joseph brings modern depth and understanding to a long-ago event.

Under the direction of Blanka Zizka, the artistic production at Philadelphia’s Wilma Theater in the spring was steeped in Eastern European influence. Serious themes of violence and conflict were mixed with theater of the absurd and old fashioned clowning.  Two middle aged women took on the roles of Gavrilo (Suli Holum) and Nedeljko (Sara Gliko) skillfully infusing their characters with adolescent discomfort.  The third less showy would-be assassin, Trifko, was played with comparable gravitas by Barrymore Award winner Brandon J. Pierce.  Steven Rishard with his Baldwinesque delivery portrayed Apis as a blustering moody fatherly figure.  For the lone female, Apis’s housekeeper  Sladjana, Zizka employed Black company member Melanye Finister, who gave the character a true touch of the Black Arts.

There was heavy emphasis on 3-D imagery designed by Jorge Cousineau to augment Thom Weaver’s traditional lighting that illuminated the vast dark space.  Intense projections reminiscent of the black light shows of the Czech Republic were among the most memorable features. So mesmerizing were the effects and so memorable were Zizka’s choices that the visual impact upstaged whatever was on the page.

I had the opportunity to revisit Archduke as Roundabout’s Off-Broadway fall offering.  Their rendition is directed by Darko Tresnjak who was born in Zemun where much of the action takes place.  As his set designer, he chose to work with frequent collaborator Alexander Dodge who emphasized topographical and language boundaries to set the scene.  More like acrobatics, the fight scenes with movement by Rocío Mendez have dance-like athleticism.  Gavrilo’s haunting visions are given aural presence in Jane Shaw’s sound design, but the images are left to our imagination.  

Patrick Page, Jason Sanchez, Adrien Rolet and Jake Berne in Archduke; photo by Joan Marcus

Tresnjak’s Gavrilo and Nedeljko are Jake Berne and Jason Sanchez, young men making their Off-Broadway debuts.  The third assassin in training is portrayed by Londoner Adrien Rolet in his first professional role.  There is a delightful freshness to all three performances.  As for the calculating Apis, Patrick Page, whose voice has become synonymous with chilly seduction, gives him a lowkey “I’ve got this” vibe.  Another Broadway vet, Kristine Nielsen, gnaws on Sladjana’s lines, coming across like a bewitched herbalist.

That two respected companies in two terrific theater cities — Philly’s Wilma and New York’s Roundabout — chose to include Archduke in their 2025 season is significant.  In a way, the script shares characteristics with the history that inspired its writing.  It isn’t the strongest of Joseph’s work which makes it ripe for differing emphasis and interpretation.  With all the talk of masculine toxicity taking up space in our national conversation, it’s important to be reminded that free will can overcome even the most enticing manipulation.

Archduke continues at the Laura Pels Theatre, 111 West 46th Street, through December 21.  Running time is about 2 hours with one intermission.  Tickets start at $69 and can be purchased at https://www.roundabouttheatre.org/get-tickets/2025-2026-season/archduke.

Liberation

Off-Broadway, Play February 21, 2025 Leave a comment

Tony nominee Bess Wohl’s latest endeavor, Liberation, is a memory play in which the narrator describes events from someone else’s experiences.  She imagines what it was like for her own mother in the early days of the fight for women’s equality.  Through a series of talking circles with her mother’s friends, she attempts to shine a light on the connection between personal decisions and societal evolution and gain a better understanding of her own choices.

A zestful Suzannah Flood takes on future mom Lizzie, Lizzie’s daughter, our leading lady, and the voice of the playwright.  Flood has an endearing everywoman quality and relatability.  Her opening monologue weaving together all four women is a highlight of the evening.  She addresses the herd of elephants in the room, beginning with the political victories that are slipping away.  To better appreciate The Now, Lizzie’s daughter will role-play her own mother.  The path Lizzie chose in her twenties led to our host’s very existence and we should become deeply invested.  But the ensuing storytelling is like learning ballet by drawing the steps on a blackboard.  We grasp the ideas intellectually, but without experiencing any authentic movement.

We are transported to Ohio in 1970 where budding journalist Lizzie is endeavoring to form a consciousness-raising group for women.  Five strangers have responded to her flyer and arrived at the local rec center.  Margie (Betsy Aidem) is a married woman with grown children whose entire life is consumed by caring for her family.  Dora (Audrey Corsa) is a young secretary whose intellect has been overlooked because she’s pretty.  Celeste (Kristolyn Lloyd)  — the lone woman of color — is an Ivy League graduate whose career has been blown off course by her ailing mother.  Isidora (Irene Sofia Lucio) is an Italian immigrant with creative ambitions who married for a green card and now wants out.  And Susi (Adina Verson) is living in her car and feeling completely exhausted by life.  Two others pass through the room.  Bill (Charlie Thurston) will eventually become the husband/father.  And Joanne (Kayla Davion) who arrives in search of her son’s lost backpack.  Her involvement in Act 2 provides one of the few exhilarating scenes in a series of otherwise predictable beats.

We are told these women are friends, but despite literally stripping themselves naked before one another, they do not truthfully reveal themselves.  Lizzie is too fearful of making a wrong move to be a leader or even anoint one.  We are reminded of the many limitations women faced in the days when they couldn’t open a bank account and no fault divorce was only legal in California.  But with only descriptions to go by, we experience a glancing blow rather than an enduring punch.  Stuck in chat mode, they all remain types from the era and never reach our hearts.

Adina Verson, Irene Sofia Lucio, Audrey Corsa, Susannah Flood, Betsy Aidem and Kristolyn Lloyd in Liberation; photo by Joan Marcus

The cast is up for the creative exercise, playing their counterparts in both past and present and occasionally stepping into the role of Lizzie when a situation would be awkward for her daughter to recreate.  Director Whitney White provides as much variation as she can, using the gym equipment to change the composition of bodies.  Set designer David Zinn adds some color with an unlikely rainbow of gym mats while costume designer Qween Jean seems to have had a blast at the local thrift shops to reconstruct that fabulous 70s look.

To protect the actresses from having nude images of themselves released by the public, all audience members must place their phones into a locked Yondr Pouch.  Unfortunately, no one at the venue was responsible for assuring that devices had been silenced or turned off, so the performance was punctuated by rings and pings.  The woman next to me could only kick her purse more deeply under her seat and smile sheepishly.

Liberation would be more successful in its mission if the characters generated the same level of support towards one another as the actresses seem to.  The message that even a little gesture can move a cause forward is an encouraging one, especially in a time when many of us feel like we are losing ground.  Instead, these characters inflict a concept of equality upon one another that feels more like another form of repression.  

An Off-Broadway entry to Roundabout’s season, Liberation continues through Sunday, March 30 at the Laura Pels (111 West 46th Street).  Tickets are available at https://www.roundabouttheatre.org/get-tickets/2024-2025/liberation and begin at $80 including fees.  Running time is 2 ½ hours including a 15 minute intermission.

The Counter

Off-Broadway, Play October 13, 2024 Leave a comment

Your ability to feel liberated by the story that unfolds in The Counter will depend greatly and how well the aftermath of the COVID pandemic and the current political climate have treated you.  The Playbill makes clear that the actions take place a few years ago, seemingly before we were all cut off from one another while living under extreme conditions.  If you have maintained or regained the muscle memory of a singular connection with someone in your life, Meghan Kennedy’s newest work will leave you with an increased sense of appreciation.  If, however, you remain in the grip of isolation and anxiety, the honesty with which the playwright confronts those feelings may overwhelm the more pleasant sensations of watching skillful actors drawing generously from sincere emotional wells.

Susannah Flood and Anthony Edwards in
Roundabout Theatre Company’s The Counter; Photo by Joan Marcus

In an economic 75 minutes, Kennedy explores universal themes of grief and opportunities lost and found in a much more successful way than most of the COVID-panic-inspired plays I’ve reviewed this year (see Three Houses, Staff Meal and Six Characters).  Paul (a wholehearted Anthony Edwards nearly unrecognizable under a bushy beard) is a retired firefighter in small town New York close to the Canadian border.  He has an endearing ability to perceive, remember, and value the tiny gestures that make those around him special.  For reasons that come increasingly into focus, his life never fully launched.  Katie (Susannah Flood spreading her gloriously skittish wings) owns the cafe where Paul eats breakfast six mornings a week.  Unlike Paul, she has chosen this quiet and contained life.  With his frank urging, the two begin to form a friendship.   Amy Warren portrays third character, Peg, in a scene made pivotal by all we hear about her character before her entrance. 

Kennedy takes many shortcuts that some may find manipulative in order to move her story along to the key moments that propel each of them down their destined paths.  But in playing out their stories at 1 ½ speed, she accelerates our emotional investment in them both.  With increasing trust, they share “tough talk” with each other and us.  The balance of power shifts frequently, offering us fresh perspective with each twirl.

The scene is laid out in realistic detail by designer Walt Spangler, whose museum-worthy sets always provide an evocative sense of place.  The cafe is set on a angle, coming to a point audience center so everyone gets a pure view of every exchange.  Award-winning director David Cromer gives the central couple just enough business to heighten the small yet critical variation in the day-to-day.  Stacey Derosier’s lightening and Christopher Darbassie’s sound move the emphasis from exterior to interior dialogue and practically allow the windy world outside to swirl around our knees.  

We often hear about the importance of meeting people where they are.  The Counter illustrates exactly how powerful this connection point can be.  The underlying notes around self-care could also not come at a more appropriate time.  This limited engagement — part of Roundabout’s 2024-25 season — runs through November 17 at the Laura Pels Theatre (111 W 46th St).  Full priced tickets start at $58 and are available by calling 212.719.1300, or online at roundabouttheatre.org.

Primary Trust

Off-Broadway, Play May 30, 2023 Leave a comment

I usually don’t make my reviews personal, but my experience while watching Primary Trust and the themes within this gorgeously crafted play are inexorably intertwined.  With gentle brushstrokes, Eboni Booth introduces us to 38 year old Kenneth, one of the few Black people living in Cranberry, a suburb of Rochester, New York.  His ethnicity is only a minor contributor to Kenneth’s isolation.  Having lived an extremely restricted life since the death of his mother when he was only ten, Kenneth’s coping mechanisms are intricate and ritualized.  But somehow his idiosyncrasy has left him uniquely suited to meeting people at their own level.

There is a deliberate “let’s pretend” quality to the entire production.  From the opening moments, Kenneth speaks directly to us in his halting and self-reflecting style.  Long thoughtful pauses rest between effervescent bursts of storytelling.  All the activity comes with musical accompaniment composed by Luke Wygodny, punctuated by the ding of an “order up” bell.  Marsha Ginsberg’s whimsical scenic design takes the phrase “small town” and makes it literal, including a miniature church, bank, and big box store alongside Wally’s, the tiki bar that serves as Kenneth’s sanctuary.  Lighting by designer Isabella Byrd leaves long shadows on the ground well before winter sets in.  Costume designer Qween Jean employs a more muted color palate than her signature style until an essential jacket makes its appearance at a pivotal moment. Two actors play multiple roles, sometimes barely turning around before switching.  Yet the play is never anything less than genuine and heartfelt.  The entire audience was sufficiently swept up to respond emotionally to every turn.

William Jackson Harper is utterly perfect as Kenneth, balancing warmth, vulnerability, fear and heart.  It’s Harper’s first stage appearance since 2017 and it was my first live theater attendance since March of 2020.  Previously, theater played a major role in my life.  Many of my friends come from that world and it was often the way I entertained others.  Vacations have been planned around seeing a specific work or actor. The temporary loss of that pursuit was profound.  But Primary Trust is all about bringing people in.  At its core is the celebration of coming out of seclusion.  To have Kenneth welcome me as a member of the audience into his life could not have been more impactful. And though I don’t have much more in common with the character, I do share his deep belief in the power of one good friend.

Jay O. Sanders, William Jackson Harper, and Eric Berryman; photo by Joan Marcus

Director Knud Adams, who often works with new material, delicately mines Booth’s script, uncovering the layers of joy, sorrow and hope. Providing support and stability for Kenneth is his best friend Bert, played with sweet good nature by Eric Berryman.  Jay O. Sanders seems to be having the time of his life portraying (among other characters) Kenneth’s two very different bosses.  The first — the owner of a bookstore— has the difficult task of laying Kenneth off after twenty years of a comfortable relationship.  The loss of his job shatters the comfortable if confining structure of Kenneth’s life, and the chink of light shining through the holes is both frightening and filled with possibility.  Helping Kenneth step through the gap is April Matthis’s Corinna, the only one of a multitude of Wally Waiters who wants to see Kenneth as more than an eccentric customer.  Completing the ensemble is a Musician played by understudy Paul Lincoln in the performance I attended.  So essential is he in setting the beat and tone, that Mr. Lincoln received his own loud round of applause.

Roundabout has obviously worked to make this production inclusive.  The company offers clear and sensible guidelines to audience members and the staff makes themselves very available to help.  To get you in the mood for what is to come, the lobby has been decorated to resemble a tiki bar, complete with projected fish tank and artificial grass.  The ticket confirmation warns audience members not to arrive late.  I can only reemphasize their strong recommendation.  Missing any of the first few minutes of the show will leave you with quite the wrong impression of what is transpiring.

Primary Trust is a work of true beauty.  It was nurtured at the 2021 Ojai Playwrights Conference and is a recipient of an Edgerton Foundation New Play Award.  Running time is an absorbing 95 minutes with a realistic denouement.  It is playing at the Laura Pels Theater in the Harold and Miriam Steinberg Center for Theatre (111 West 46th Street) through Sunday, July 2.  (Note that Harper is out the weekend of June 9.)  Tickets start at $56.  $4.95 COVID cancelation insurance is available.  Visit www.roundabouttheatre.org for additional information including special performances.

Bernhardt/Hamlet

Broadway, Play, Uncategorized September 25, 2018 Leave a comment

In 1899, Sarah Bernhardt decided to take on the role of Hamlet.  The most famous actress of her—perhaps of any — time was no longer comfortable playing ingenues, and the parts written for women in their 50s held no interest for her.  Her daring gender crossing is considered a seminal moment in the history of performing arts.   She could keep a pet tiger and a fleet of lovers, and even sleep in a coffin, but her decision to play a man was treated by critics at the time as one “eccentricity” too far.  The event should have made for a compelling play, at least for theater buffs and cultural historians.  Unfortunately in Theresa Rebeck’s Bernhardt/Hamlet, the excitement is smothered by too much talk and upstaged by scenes written by the Bard himself.

Bernhardt/Hamlet is the first commissioned original work that Roundabout has brought to Broadway.  Despite a lengthy development process, the piece still feels like it was created by committee and at the very least could do with another round of editing.  There are a number of enlightening themes explored in Rebeck’s script including the inner life of Shakespeare’s famed Danish Prince.  It becomes obvious that Hamlet and Bernhardt share an almost crushing doubt about their purpose.  Strongest of all are Bernhardt’s observation about gender issues that persist to this day, especially the challenges facing talented women who are too old to play 20 something convincingly and too fierce to take a tiny supporting role.  Bernhardt had successfully portrayed Cleopatra, Cordelia, Desdemona and Ophelia, all of which had become inappropriate.  What was left for an actress of her range to play except Shakespeare’s most defining role?  Sadly, too much of the banter sounds like it’s coming from the head instead of the heart, robbing the exchanges of any emotion that could move and inspire the audience.  The production comes across like someone sharing the love of ballet by drawing it on a chalkboard. 

0462_Dylan Baker, Jason Butler Harner, Janet McTeer, Matthew Saldivar in BernhardtHamlet, Photo by Joan Marcus, 2018

The characters’ nattering is made worse by the static direction of Moritz von Stuelpnagel.  Even the more crackling stretches of Rebeck’s dialogue are choked off by the lack of movement. The enclosed feeling is made worse by Beowulf Boritt’s suffocating set.  Never has Paris seemed less lively. This lack of energy becomes is most noticeable during fast paced scene changes, which are accompanied by dramatic original music by Fitz Patton.  At least costumes by Toni-Leslie James and hair and wigs by Matthew B. Armentrout are appropriately jazzy.

What’s happening front and center is worthy of the Divine Sarah.  Like the one-of-a-kind star she is portraying, Janet McTeer dominates the stage with her honeyed voice, graceful stature and sheer presence.  Slightly more exaggerated is Dylan Baker’s performance as Constant Coquelin, Bernhardt’s frequent leading man.  Though he can’t match her vigor, he injects wit into their banter.  Jason Butler Harner as her lover Edmond Rostand embodies a realistic combination of lust and haplessness.  As his wife, Ito Aghayere who sparkled in Junk last season, is disappointing and flat in a significant scene.

At nearly 2 1/2 hours, Bernhardt/Hamlet will likely be a slog for all but the most dedicated lovers of “straight” theater. It’s a missed opportunity to share a shining moment when a talented actress took charge of her own career.  Bernhard, Hamlet, and Ms. McTeer all deserve better.  Tickets are on sale through November 11 at https://www.roundabouttheatre.org/Shows-Events/Bernhardt-Hamlet.aspx.

Bobbie Clearly

Off Off Broadway, Play, Uncategorized April 9, 2018 Leave a comment

We are seated in the Milton Community Center witnessing the making of a documentary.  Ten years ago, this small Nebraska town was rocked when the title character of Bobbie Clearly shot and killed Casey Welsh when she was 16 and he 14.  For nearly 2 1/2 hours, we will hear from Bobbie and ten others about what led up to that horrific event and beyond it to present day.  It will be as hard to see the next turn in their stories as it is to navigate the tall fields of corn where Casey’s body was found.

Avoiding the pitfalls of some of the seasons other issues-oriented productions, Bobbie Clearly focuses on the violent act’s human impact rather than on the shooting itself.  Playwright Alex Lubischer has generously peppered his moving script with moments of humor, taking care to treat his characters with affection even when poking fun.  Though primarily delivered in interview format (to an unseen host), the relationships sparkle.  There are times when two people are telling separate segments using identical phrases, shining a light on the importance of context.  Lubischer also captures a common progression of high school friendships, following four of Bobbie’s classmates from their summer jobs corn detasseling through their awkward fundraisers in Casey’s memory.  Further, there is a profound exploration of the link between religion and forgiveness.  Most importantly in this delicate time, Lubischer is careful not to take a stand on guns by making Casey’s father, Stanley, take delight in hunting as a distraction from his grief.

Bobbie Cleary Roundabout Underground

The entire cast is terrific, beginning with Ethan Dubin who — though used sparingly — manages to be both sweet and disturbing as Bobbie.  Many will recognize the magnificent Constance Shulman from her equally wonderful ensemble work in television including Orange is the New Black.  With her tiny wiry frame and high-pitched croak, she makes an unusual police officer, which is perfect given the unconventional bond she develops with Bobbie from the time he was the Sunday school bully to the day he makes his best attempt at repairing the huge hole he has ripped in his community.  Her intensity is balanced by the performance of JD Taylor as Bobbie’s misguided and slightly goofy Big Brother Derek Nelson.  As BF(F?)s and mismatched bookends Megan and Meghan, Talene Monahon and Sasha Diamond play off each other with great timing.  And Tyler Lea taps into both vulnerability and inner strength as Casey’s younger brother, Eddie, the only witness to the murder.

The piece is performed in 3/4 round with what are essentially service doors to the space serving as entrances and exits.  As directed by Will Davis, the energy flows consistently even through the silences.  He may also be responsible for the brilliant choreography of two critical dance numbers, which call for very special talent.  Kudos to Asta Bennie Hostetter for finding such great costumes-on-a-budget for those numbers as well as the more everyday items that fill in character details.  Providing unsettling atmosphere are the smothering walls of dried corn that almost exclusively comprise the minimal set by Arnulfo Maldonado.

At $25 a ticket, Bobbie Clearly is superb bang for the theatrical experience buck.  The play is presented as part of Roundabout Underground at The Black Box Theatre and is sure to keep developing its strengths.  If you are looking for a who dunnit or even a why, look elsewhere.  However, this slow-burn storytelling and honest examination of what is ultimately unknowable will leave you with your thoughts turning.  For tickets, on sale through May 6, 2018, and information visit https://www.roundabouttheatre.org/Shows-Events/Bobbie-Clearly.aspx.