Tag Archives: Theatre Row

The Exes

As The Exes opens, it is Christmas Eve day and the Killingworth household is preparing for the wedding of Richard’s over-indulged daughter, Victoria.  Richard’s best friend, Dick Wright, is helping to keep everything on track despite the barrage of business calls.  Richard made a fortune from the patent he holds on a genetically-engineered “forever” flower that has caused quite a stir among fearful florists.  There’s a protest planned and it is even suspected that these small-business owners were behind a fire that destroyed Richard’s original townhouse. 

The birth of Richard and Dick’s friendship was an unusual one.  Richard’s soon to be ex-wife, Mavis, was first married to Dick.  One year ago, she ran off to Denmark to be with her now-fiancé, Marcel.  The two men bonded when Dick saw a reflection of his own pain in Richard’s distress at her leaving.  Now the two are so close that they jokingly call each other #1 and #2.  Even Dick and Marvis’s son, Garrett, comfortably hangs out in the Killingworth home.  Just as everyone is about to depart for the ceremony, Mavis makes her customary chaotic entrance.  She’s returned from overseas to get her divorced papers signed.  She is also intent on witnessing the marriage of the young woman she helped raise.

If it wasn’t for the key role played by cellphones and iPads, The Exes could have been written ages ago.  Rather than exploring what divorce and remarriage is like for woman like Mavis, playwright Lenore Skomal leans into the throwback elements of her script.  She has followed her own advice and self-produced this run, assembling a production team that seemingly drew inspiration from a creaky drawing room comedy.  Craig Napoliello’s set is functional, but the elements are dated.  Magda S. Nyiri’s direction often has the actors awkwardly posed in a straight line.  And it’s hard to say what time period is represented by the jazzy musical phrases looped together by Nathan Repasz.  These are puzzling choices for a talented writer devoted to artistic empowerment.

'The Exes' by Lenore Skomal, Directed by Magda S. Nyiri, Theatre Row

David M Farrington, John Coleman Taylor, Galen Molk, Tim Hayes, Alison Preece, Karen Forte in The Exes; Photo by Emily Hewitt

The most disappointing fallout from these creative decisions is that 2019 Mavis comes across like a character from a 1940 movie.  Having been introduced to the audience by her exes as a serial cheater, Mavis doesn’t do much to redeem herself.  While she has brief tender moments with her son, Garrett, and confident, Prim, she mostly thrashes around.  It’s unfortunate that the character isn’t developed more sympathetically since that possibility is running right under the surface.  Despite only one of the Richards using the nickname Dick, they both obviously are.  #1 makes cutting remarks about everyone around him.  #2 always has business on his mind and a cellphone glued to his ear.  Neither could have made a suitable partner for the sociable Mavis, who was left searching for connection.  Having apparently learned little about what constitutes a healthy relationship, she chose to move on with a man who was dismissed from his job for behaving inappropriately with younger women.  Now she is leaving Garrett behind  AGAIN, this time to face his 6th year of college with only three stunningly selfish people to guide him.

While the most enduring relationship portrayed is between Richard and Dick, it is Garrett who stirs compassion from the audience.  Alone among the hyped up cast, Galen Molk’s performance is warm and natural.  His vivid, witty description of events which take place off stage — enhanced by designer Ross Graham lighting — is a bright spot.  John Coleman Taylor also remains dignified if a bit stereotypical as English “house manager”, Prim.  Oddly for a production powered by women, Karen Forte’s Mavis and Alison Preece’s Victoria border on the unpleasant with shallow interpretations coated in neediness.  The capable men are each given one note to play.  David M. Farrington has terrific timing, but Dick’s every line is delivered with equal snap.  Richard is driven, so Tim Hayes is continually put in drive mode.  And Kyle Porter’s badly dressed and overly-mannered Marcel is so quirky the character becomes an unfathomable punchline.  

The Exes has a fun premise and some great minds at work.  But like the marriages it portrays, it doesn’t fulfill its promises.  Runtime is about 2-hours with an intermission.  Tickets are available for $59.25 through Telecharge at https://www.telecharge.com/Off-Broadway/The-Exes/Overview.  It’s playing off-Broadway at Theatre Row (410 West 42nd Street near 9th Avenue) through October 5th.

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The Brothers Paranormal

Being unmoored feels as haunting as any creature to the characters in The Brothers Paranormal, opening tonight at Theatre Row.  Max left behind a fulfilling life in California and moved to the midwest to look after his mentally ill mother Tasanee and alcoholic brother Visarut.  Attempting to restore his financial stability, Max has partnered with Visarut in a ghost-hunting venture.  Delia and Felix have come to the same town after being forced out of their home in New Orleans by Hurricane Katrina.  They are all brought together when Delia hires the brothers to rid her apartment of a malicious spirit only she can see.  Though Max is a non-believer, he is a pragmatic businessman and more than happy to take Delia’s money for an easy night’s work.  Felix goes along with the plan hoping to prove his wife’s visions are real and not the onset of madness.

Pictured (left to right): Vin K ridakorn, Dawn L. Troupe. Photo credit: John Quincy Lee

Vin Kridakorn and Dawn L. Troupe. Photo credit/ John Quincy Lee

The timing of this world premiere production by Pan Asian Repertory is auspicious. Modern audiences have been primed to experience the blend of comedy, social commentary, and horror that are entwined throughout Prince Gomolvilas’s script.  The lifespan of a typical play makes it unlikely that the playwright was inspired by Jordan Peele’s groundbreaking Get Out, but the sensibility is similar if not as artfully executed.  There are chills, chuckles, and deep reflections on displacement, along with family-oriented conversation.  The second act begins to drag with too much exposition and the ending is a disappointing “specter ex machina.”  But the overall journey is an entertaining and surprising one.

Talented director Jeff Liu does his best to navigate the many moods and styles, which are in near-constant transition.  The gasp-inducing horror elements are achieved with well-crafted lighting design by Victor En Yu Tan and perfectly-timed sound by Ian Wehrle, along with a magical assist from special effects expert Steve Cuiffo.  It is the logic behind the hauntings that is flawed.  It is explained to us that ghosts follow their own rules, but horror purists will be particularly frustrated by the inconsistencies of the other-worldly occupants.  Gomolvilas fares much better in the comedy realm where his zingers are delivered with flair, most especially by Emily Kuroda as the sly and insightful Tasanne. 

Sheryl Liu’s sparse set allows us to focus most of our attention on the characters.  Gomolvilas has chosen to explore the intersection of African American and Thai American cultures, particularly as they relate to superstition and the afterlife. Common ground is found and differences acknowledged and respected.  There are also interesting distinctions made between the viewpoints of Max who was born in America and the rest of his family who immigrated from Thailand.  It is especially in the heartfelt moments that Gomolvilas’s writing skills shine.  The chemistry between Dawn L. Troupe’s warm Delia and Brain D. Coats as her charming husband feels genuine.  More astonishing is the connection formed between her and Vin Kridakorn’s seat-of-his-pants Max. The relationship that develops between client and hoaxer is fresh and ultimately brings about extraordinary feelings of hope.  Natsuko Hirano and Roy Vongtama round out this strong cast.

As the month in which we recognize both Asian Pacific American Heritage and Mental Health Awareness, May is the perfect time to bring the unusual and twisty The Brothers Paranormal to our consciousness. The play is currently at The Beckett Theatre at Theatre Row (410 West 42nd Street) for a limited engagement through Sunday, May 19, 2019.   Runtime is 2 hours plus an intermission.  Content is intense and may be inappropriate for children under 8. Ticket prices range from $62.50 – $102.25.  For more information and to purchase, visit https://www.telecharge.com/Off-Broadway/The-Brothers-Paranormal/Overview.

Fruiting Bodies

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.

The Chekhov Dreams

The lovers at the center of The Chekhov Dreams are an unusual pair.  Kate is dead, having been killed in a car crash several years ago.  Deeply depressed since the accident, the independently wealthy Jeremy has put his writing aside and spends his days asleep in order to visit her in his dreams.  A frequent topic of conversation between them is the possibility he might end his life and join his beloved in the hereafter.

Tired of watching this sad cycle, brother Eddie — who has chosen to spend his money on the more traditional wine, women and song — elicits a promise that Jeremy will make an effort to get out and meet new people.  A man of his word, Jeremy signs up for an acting class, thinking this exercise might have the benefit of expanding his relationship with the literature he loves almost as deeply as he does Kate.  Instead, he and his scene partner Chrissy are assigned The Seagull by Anton Chekhov, a playwright Jeremy considers dreary and uninspiring.

ChekhovDreams

Photo by Arin Sang-urai. L to R: ELIZABETH INGHRAM, DANA WATKINS, CHARLOTTE STOIBER

Playwright John McKinney ambitiously draws parallels between his characters, Chekhov’s Anna and Trigorin and Jeremy’s favorite fairytale, The Snow Queen.  The results are uneven, punctuated by some imaginative moments.  A few grimmer concepts are presented too off-handedly, which is jarring.  But by the second act we’re more firmly in Blithe Spirit territory than anywhere near a Cherry Orchard. The broader comedy works fine while we remain in Jeremy’s mind and apartment, but when the action shifts back to the acting class, McKinney breaks his established rules of conduct and produces an uneasy mix of personal hallucination and the reality of others.

The small cast works comfortably together.  The angular Dana Watkins provides Jeremy with an appropriately dreamy quality.  As his scene partner and potential lifeline, Chrissy is given bubbly charm by Charlotte Stoiber.  Christian Ryan channeling Jere Burns delivers the best zingers as Eddie.  The toughest challenge is handed to Elizabeth Inghram who struggles to bring the not-always-likable Kate to “life”.  Rounding out the team is Rik Walter as the time and realms-traveling Chekhov who fills in the blanks whenever Jeremy becomes too blind in grief.

Some of director Leslie Kincaid Burby’s staging is clever, particularly the dream sequences.  The mood of these all important scenes is enhanced by Diana Duecker’s lighting and sound designed by the playwright himself.  Burby is less successful when giving the actors “business”.  The already rapid-fire dialogue gets punched up with distracting sight gags. Scott Aranow’s scenic design also doesn’t quite work.  We are told that Jeremy inherited a great deal of money, but his furniture is inexplicably cheap and ratty.  At times the walls actually wobble.  It is clear from his ultra-casual wardrobe provided by costume designer Christina Giannini that Jeremy isn’t “spendy”, but he should at least honor basic building codes.

For all the talk of endless love and devotion for the ages, The Chekhov Dreams is more a diverting night out than a philosophical exercise.  The thought-provoking questions raised don’t hold up to much reflection.  Towards the end of the play, Eddie has a line that works as a wink to the audience, indicating McKinney knows that the ponderous moments won’t be sustained after the houselights come on. But really, what’s wrong with a little escape?  Tickets for the production at The Beckett at Theatre Row are available through February 17 at https://www.chekhovdreams.com.