Look Back In Anger

John Osborne's 1956 play, Look Back in Anger, has been staged in London on the West End and subsequently on Broadway - both to a rather cool, if not frigid reception.  Movie versions were made in 1959, 1980, and 1989.  Acting and terrific performances aside this go-round, most of the critics historically were mostly unhappy with the story itself.  Although I stayed the entire 2 hours and 30 minutes this time around, the play still only warranted about 90 of them.

The play is truly a 4-some ensemble.  Matthew Rhys, the handsome and familiar Welsh actor from television's Brothers & Sisters, Adam Driver, a familiar Roundabout Theatre player , Sarah Goldberg and Charlotte Parry all handily carried their roles and graced the tiny sliver of stage they were allotted by director, Sam Gold, with power, grace, and presence - the only trouble really being the overly drawn-out material by Mr. Osborne.  Mr. Gold's choices in lighting, and the use of the "off-stage" area were innovative.  And Mr. Rhys' trumpet playing skills were certainly put to good use.

At an off-Broadway ticket price the cast is certainly worth seeing, but I highly recommend you get a cup of coffee at Starbucks around the corner before entering the theatre.  You're likely to need a double to get through the fine performances of this dirge.

How I Leaned To Drive

Paula Vogel's award-winning 1997 play is receiving its first professional production since it premiered 15 years ago at the Vineyard Theater.   Second Stage Theatre is breathing new life into the uncomfortable subject matter of pedophilia, incest, and misogyny.

Dare I say, it's not one of those plays that will cause hoards of fans to mob the box office.  Exactly the opposite, I'm quite sure.   I think Second Stage knew that in order for this extremely difficult subject matter to succeed for even a brief run, it has to bring in a star.   In its prior incarnation, Mary Louise Parker was the draw.  In this rebirth, Norbert Leo Butz has the daunting task of playing Uncle Peck, a seemingly normal, affable, and likable man living with his family in rural Maryland in the 1960s.

Ms. Vogel's power is not in the overt, but in nuance and innuendo.  Uncle Peck never once physically harms his niece.  He is always proclaiming to be her protector.  Her friend.  He employs practically all the tools you would expect that a man of this kind would have in his repertoire.   Ms Vogel has cleverly woven in the analogy of literally learning how to drive a car with the figurative narrative and action on stage about growing up, innocence lost, co-dependent relationships, excuses, betrayal, and emotions of the characters.

I left the theater wondering why someone (specifically Mr. Butz) would want to take on this role.  I'm not sure I have an answer beyond "it certainly would be a challenge".   I left the theater in a reflective mood.  Not angry, not sad mostly thanks to Ms. Vogel's excellent crafting.  But I wondered exactly what Mr. Butz thinks when he leaves the theater each night.  There are absolutely no redeeming qualities whatsoever to his character.  None.

Gob Squad's Kitchen

 It's hard to describe this amazing work - it's part film, part live performance art, part experimental theatre.  It harkens back to the days of Andy Warhol and one of his avant-garde films - The Kitchen.

The actors actually construct a live and unique movie before your eyes each night.  When you enter the theatre you get to walk onto the set behind the large screen that you are about to watch for the next 100 minutes so that you have an image in your head as to what's going on behind the screen.  As the performance progresses, the actors emerge from behind the screen and pull several audience members into the scene and the actors end up in the audience.  I don't think I would believe me if I told myself this odd tale - so instead, I'm going to post a video from the Gob Squad website as the best evidence as to the remarkable job this acting troupe has done in producing unique entertainment every single night!

Watch it Full Screen if you can - you'll get the "full effect" of this amazing experience.

Carrie

Re-imagined.  Re-invented.  Resurrected.  Remarkable!

OK, so i have never seen the cult movie (shame on me, i know).  I also didn't get to see the prior incarnation on Broadway that cost over $8 Million and lasted a sum total of 16 previews and 5 performances (all sold out, i note) before closing to scathing reviews which caused the backers to pull their money out.  It was so bad in its last incarnation that it drove Ken Mandelbaum to name his book of musical flops, Not since Carrie, Forty Years of Broadway Musical Flops, after it.

Ladies and Gentleman, this new production is nothing like its predecessor.  Nothing!   It's young, fresh, easy on the eyes, less bloody and bat-shit-crazy, and employs some pretty nifty video projection technology to enhance the story.  Religion is present, but not overplayed.  The true story of love, bullying, fear, friendship, and forgiveness shines thru like a beacon in the fog.  The music and lyrics by Michael Gore and Dean Pitchford fill the entire theatre (yes, that absolute dump on Christopher Street).  Choreography by Matt Williams is light, modern, and engaging, although everything with high school kids seems to remind me of Spring Awakening these days.

Without a single doubt, Molly Ranson (Carrie White) and Marin Mazzie (Margaret White) are both engaged in Tony-worthy performances (if, of course, an off-Broadway show could indeed be nominated!).   As a matter of fact, although this show is off-Broadway at the Lortel Theatre (the aforementioned dump), if i didn't actually know that, I'd come out suggesting multiple Tony noms for this production.

Yes, I know it really sounds odd that a musical about a Stephen King book might be a good idea, but at its core, this show has heart.  Lots of it.  And now that we have some decent technology, nobody has to actually attempt to blow up the stage 8 times a week.  Mean kids, bullying, a jock with a heart, and a beautiful girl hidden behind her fears take this former flop to great new heights.  Don't miss your chance to see the a makeover every producer of HGTV programming would be jealous of.  Carrie looks like the surprise musical sensation of the season!

CQ/CX

A power-packed, "Ripped From The Headlines" new play by emerging playwright, Gabe McKinley, is now playing at the Peter Norton Space on way-West 42nd Street.  This is the former space occupied by the Signature Theatre.  

Although I've seen it in previews, I can already tell this one is going to be a barn-burner.  The pace is quick, the wit is razor sharp, and story is focused.  Mr. McKinley, the playwright, actually worked at the NY Times.  CQ/CX is the fictionalized story of the Jayson Blair scandal and the damage he inflicted upon the Grey Lady herself, his friends, and his colleagues.  

The all-around brilliant cast aptly supports Kobi Libii's fine portrayal of Jay Bennett (i.e. Jayson Blair), hungry and aggressive young intern turned reporter who eventually self-destructed at the heart of the entire affair.  David Pittu takes the helm as Junior, the family member in a long and proud family dynasty who ran the publication.  Arliss Howard takes on the role of Hal Martin, new man in control, attempting to steer the behemoth ship into the 21st century.  Peter Jay Fernandez takes on the role of Gerald Haynes, the first African-American to rise to the senior ranks who by coincidence also becomes a sort of mentor to the young Bennett.  Larry Bryggman, Tim Hopper, Steve Rosen and Sheila Tapia fill in the ranks of colleagues and friends.

Just for reference, the title is Latin - CQ stands for cadet quaestio -which translates to "the question fails" and is an editors mark that is used when he questions a fact in a story.  CX is an editors mark for something that has been "corrected".   Hence the title, CQ/CX, is born out of the combination of the two and is quite relevant to the entire story

I enjoyed this show with a 20@20 ticket, but I'd go out on a limb to suggest it's worth the full price charged by the Atlantic Theater Company.

Where's My Money?

The Animus Theatre Company is presenting a fantastic stylized work, Where's My Money, by playwright John Patrick Shanley.  An homage to the Film-Noir style in the cinema, this stage production is an attempt by both the playwright and the actors to bring it to life in a live theatrical presentation.

The 3 mysterious and provocative stories unravel in the play eventually all come to intersect in a grand crescendo.  The youthful actors all portraying characters seemingly at least a decade older do a stand-up job at fostering the ominous sense of mystery and sense of impending danger that in a movie would be done with camera work and dark music with an occasional "gotcha" riff.

One stand-out performance was that of Sydney (Jeff Todesco).  He seemed to really absorb the sense of the style and use the "did you hear that" moments and his many darkly humorous lines to bring a real sense of the genre to the stage.  A quirky and off-beat Natalie (Amy Northup) used her deep dark secret and social awkwardness to induce many laugh.

I'd have to say that the one role I wished I could have was that of Tommy (Jamahl Garrison Lowe).   He utters the titular lines of the play (and not much else), wears the only color in the entire production, but still manages to bring the entire stage to their knees with fear!

For an inexpensive and fun day or night in the theatre, head down to the Cherry Lane Theatre and check out what all the buzz is about in the Studio space.   I'm going to guess that you will find a dash each of Mind, Spirit, Courage, Passion and Wrath.  

Wit

A play about cancer and dying is probably not something that is first on your uplifting winter "must see" list.  But don't click the back button on your browser just yet.  Attention must be paid.  This play is a modern watershed of issue and emotion.  Cynthia Nixon may be compared to the prior leading ladies in this work, but without ever having seen those other leading ladies (whom I also adore),  I give Ms. Nixon a standing ovation right here - not only for her acting, her emotion, and ownership of the role, but for her giving life to the words on the page and to all those who are touched by cancer.

I'd like to highlight something that I have not seen in many of the other reviews - which tend to focus on Ms. Nixon's performance and the intelligent play on literature, poetry, grammar, God, and yes, wit.   What I found so biting was Ms. Edson's condemnation of doctors and, frankly, the entire health care system in general, while at the same time, the defense and promotion of the care giving of nurses.  Time and time again, to quite a successful humorous result each time, we hear uncaring, unobservant, superficial doctors go about their business of talking above a patient's head, asking "How do you feel today" to a patient suffering the pains of chemotherapy.   I found, quite often, Ms. Edson's dual emotions toward the situation - the superior intelligence and necessity of academics and researchers in the medical field and at the same time her bitter disdain for the lack of warmth, observation, and comfort by those same people.

The bitter pill she is forced to swallow is that she herself is forced to transition from (literary) expert to subject, teacher to student, artist to model.  She intelligently and rationally comes to the conclusion about what her life was and what it was not.  How she lived it and just how it may end.

There are many layers to this play and Ms. Nixon and director Lynne Meadow have chosen some of its finest most relevant to showcase in 2012.  Bravo Ms. Nixon, Ms. Meadow and to the entire cast for a top notch performance of a touching work!

Outside People

Maybe Naked Angels has the idea first?  But in a Broadway season that already contains a very funny Chinese-culture play, I'm not sure why the Vineyard chose this time to mount Outside People exactly now.   Logistics aside, which may have just been mere coincidence, it is now inevitable that comparisons to Chinglish, on Broadway, will be made.  Unfortunately for the Vineyard, hands down, Chinglish is a better play - technically, stylistically, and comically.

While the two plays are clearly different stories, they both deal at a high level with the cultural differences between Westerners and Chinese.  In this case Zayd Dohrn's new work it's a biting commentary on the Westernization of China and the dirty underworld that exists as capitalism suddenly slams into the vastly unprepared empire.  It's about friendship and the many ways that can be interpreted, used, and misused by both parties to a friendship.  It's about love, labor, and economic freedom.

All those heady topics that failed to impress me aside, the playwright shrouded the friendship and plot in so much mystery, it was frustrating and confounding at times.  Where was he going?  Is he going where I think he is?  What does David Wang really do?  Is she?  or Isn't she?   Not all of this is bad - i like the approach, but the execution seemed to be lacking, unfocused, and misleading.  Maybe a Chinese director would have helped matters?  I'm not sure.

Matt Dellapina (Malcolm) and Nelson Lee turn in top-notch performances - clearly grasping and owning their respective characters, flaw and all with Mr. Dellapina deftly owning his nebbish insecurity and borderline neuroticism and Mr. Lee owning his power as a young, American educated, good looking, Chinese businessman.

T'was a serious topic, some great acting, and a pace to the work that propelled it forward, but in the end, it missed making some connections, lacked a compelling reason for the entire circumstance of Malcolm's being in China, and somehow left most of the audience wondering (and I don't think this was intended at all) whether Xiao Mei was or wasn't who she was accused of being.

LEO

What a delightful and entertaining way to start off the new year  - and it wasn't a big budget Broadway musical with 17 stars flying around the theatre!  LEO, the brain-child of Tobias Wegner, a Belgian trained acrobat and award winning performance artist, is a simple, mesmerizing, physical, trick-of-the-eye performance-art, music, and dance work that literally defies gravity and pleases the eyes.

LEO is the unusual story of an ordinary man who finds himself in a world where gravity is literally turned on it's side. With his trusty suitcase of surprises, LEO embarks on this creative journey - all without the spoken word - in a nondescript room of red and blue and a single light bulb.   His journey involves dance, original on-stage drawing, acrobatics, and music.  Even with a complex description of how the show is technically presented - you'd never appreciate the artistry so I won't even attempt it.  Let's just say that it has to be seen - with both eyes - to be thoroughly enjoyed!

Mr. Wegner is a true performer - beyond limber - and quite handsome in his boyish approach to the role.  As many in the audience did, you'll find yourself slowing giggling as the performance progresses, smiling at the wide variety of musical accompaniment - from Frank Sinatra and Ravi Shankar to The Grits and Slayer to Tchaikovsky and Beethoven, and thunderously applauding at the end of the journey - happy for LEO and proud, envious, and satisfied that you took in a brief hour of Mr. Wegner's talents - with both eyes!

Porgy and Bess

To the delight of every audience member, the orchestra at the Richard Rogers Theatre roars to life from the first bar of the George and Ira Gershwin and DuBose and Dorothy Heyward's luxurious operatic musical, Porgy and Bess, and completely fills every nook and cranny of ornate theatre on West 46th until the very last bar 2 1/2 hours later.

Norm Lewis (Porgy) and Audra McDonald (Bess) turn in flawless performances along with a top-notch ensemble cast including the devilishly slick David Alan Grier (Sporting Life).  The stage is simply and appropriately shabbily adorned and the costumes are equally appropriate and well designed for the period.

Adapted by Suzan-Lori Parks and Diedre L. Murray, the story moves us swiftly through the poor neighborhood of Catfish Row in Charleston, South Carolina in the late 1930's and weaves a hopeful yet sad tale of the poor black residents who form a deFacto family to both provide for each other and protect each other.  The story and this adaptation displays their strengths and weaknesses, devotion, and desires with aplomb.

Superbly orchestrated, the show is simply a magnificent example of an appropriately refreshed revival with all its roots firmly grounded in the original.  Don't hesitate for a single minute in getting your tickets.   The price of the ticket is well worth the value received in return - and as a matter of fact, Tony-nomination worthy performances aside (one for each of the leads and many more i predict), the focus on the orchestrations and execution by a full and robust orchestra in the pit is worth the trip alone!

The Road to Mecca

 An old fashioned play and a top-notch actress take center stage at the American Airlines Theatre at the Roundabout Theatre Company this winter.  Athol Fugard's The Road To Mecca is a charming, albeit very wordy, drama revolving around an eccentric, elderly Afrikaner woman living in the countryside of South Africa - battling age, loneliness, depression, and the threat of losing her identity by being forced into selling her home and moving into the local senior home.

Rosemary Harris shines in her portrayal of Miss Helen, flawlessly memorizing her extensive and complex monologues - expertly portraying the elderly woman.  Mr. Fugard wraps Ms. Helen with layers of complexity which are revealed one by one by the supremely talented Harris.  Carla Gugino plays an equally refreshing, young English South African muse and confidant to Miss Helen, Elsa Barlow.  Jim Dale turns in a wonderful performance as the equally aging and staunch Afrikaner minister and de facto leader of the remote, traditional, conservative community largely unchanged over time by the outside world. 

Brevity is clearly not a characteristic of Mr. Fugard.  His verbosity is at times a bit overwhelming, but it's always intelligent, insightful, and relevant to the deep and layered characters he has created.  And what a treat it is to see Ms. Harris light the theatre with her charm (and candles).  

Close Up Space

Molly Smith Metzler is an award winning playwright from Brooklyn and she's written a charmer that is now being presented at Manhattan Theatre Club (MTC) on the small stage at NY City Center.

The play, Close Up Space, revolves around Paul (David Hyde Pierce), an intelligent literary editor and his estranged and odd daughter, Harper (Colby Minifie).  The title cleverly refers to an editing/proof-reading symbol - as in "shorten this up and remove some words (the verb to close, pronounced with a 'z').  You learn fairly early that something is amiss with his family and his daughter is quite upset with his actions.  Throw in a Saturday Night Live-like office manager, Steve (Michael Chernus), a well-published spit-fire (albeit mis-cast) author, Vanessa Finn Adams (Rosie Perez), and an innocent and smartly cast office intern, Bailey (Jessica DiGiovanni) and you have the makings of a sweet treat.

However in making that sweet treat, if you use the wrong ingredients or switch the salt for sugar you're in for a disaster.  Such is the case under the reign of Barry Grove at MTC.  Ms. Perez, while entertaining, is an over-used, mis-cast character actress in the role.  Mr. Chernus, while very funny and his character's arc cleverly designed, was overly so - to a point beyond satire to that of absurdity and farce.  Ms. Minifie's defects were perhaps one of the few that can be associated with the author  - taking the "I've been exiled to Siberia" analogy way too far.   David Hyde Pierce worked his magical reactions, facial expressions, and character acting the entire time and essentially rescued this one from falling into the abyss.

Mr. Grove - your audience is somewhere between 40 and death... much closer to the latter, i estimate (maybe because your subscriptions are relatively cheap) and your play selection, while admirable, just haven't seem to cut it in the past few cycles.  David Hyde Pierce may just have prevented this one from becoming the next one to fall off the cliff, but you've got to to a little better or once the purple haired audience ends up in those coffins, you're going to have a lot of empty seats in those wonderful theaters you manage.

Burning

Everything about Burning, Thomas Bradshaw's new play, is less like a flaming tinderbox and much more like the wet smoldering ashes of a rained out campfire.  The painful 3 hours in the theater included just about every issue and topic that might be featured individually in a well written avant-garde show downtown - all thrown in with reckless abandon aimed at provocation with the result being disgust.   Decide for yourself.

This play includes 3 audacious and intertwined stories.  A gay 15 year-old in California who's mother, the crackhead, overdoses and dies after which he runs away to NYC to be an actor and ends up living with an older gay couple as their houseboy and sex-toy.  He sleeps with a friend of theirs who has AIDS, runs away to Cologne, Germany for 3 years and watches his new boyfriend die.  In another story we get two grown children of Nazi parents who have died - the daughter inexplicably confined to a wheelchair.  They carry on the Aryan Nation tradition and beliefs of their parents.  The skinhead brother has to care for his sister and ultimately has to resort to pleasure her sexually in the bathtub with his fingers.  In the third story we have a mixed race couple.  The black man is an artist who paints provocative works about race and doesn't let anyone know he is black before they meet him.  He travels to Germany to the gallery where the Nazi guy works.  The Nazi guy doesn't know he's black, learns the truth upon meeting him and ultimately ends up murdering him in a dark movie theater when the black guy is with a prostitute with whom he has fallen in love - she's black and he's never been with a black woman because when he was 5 his older sister would use him as a decoy when having sex with her many boyfriends - and of course he saw her and ever since was repulsed by black women.  Then there's a time warp effect where the young guy in the first story i mentioned grows up and meets the cousin of the black guy and here we have homophobia, coming out, unprotected sex on purpose with an HIV positive gay man.

I could go on... and on.... and on.... but I just might get sick to my stomach all over again.  There were some beautiful and talented people on stage - both fully clothed - as well as fully unclothed - and I honestly question if some of the many sex scenes were really simulated... Don't get me wrong - I'm not a prude - quite the opposite actually.  But the intentional over-saturation with issues, naked bodies, orgasms, hairy ass cracks and other sordid details was completely forced and not natural at all.

Some fine acting by the cast which includes Hunter Foster cannot be overlooked or go unmentioned but was completely overpowered by the playwright's hubris and over-blown, throw-in-the-kitchen-sink approach to forcing an avant-garde feeling on us - - failing miserably every step of the way.

Suicide, Incorporated

 Andrew Hinderaker, a fresh, young playwright is having his moment in the spotlight.  Specifically, the spotlight several times a week in the Roundabout Theater Company's New Play Initiative.  Mr. Hinderaker's jolting and emotionally charged new work, Suicide, Incorporated, is being produced in the Black Box Theater of the Roundabout Underground.   This play marks the Roundabout's 6th new play in the space and, without a doubt, this one is as powerful if not more-so than the previous - and the bar was already set fairly high.

Part dark-comedy, part hurts-your-heart-to-the-bone drama - this Mr. Hinderaker handles the subject matter with aplomb.  As I have come to expect at the RU, this black-box is way more than your average run-down black-box.  Professional quality sets, lighting, and sound are a benefit this black-box gets by being associated with such a great theater company upstairs.  Not disappointing this time around either, Daniel Zimmerman (Set Design), Zach Blane (Lighting Design) and Chad Raines (Sound/Music) bring their 'A'-game to the show. 

Director Jonathan Berry might consider trimming up a few scenes here and there where the concepts are needlessly repeated, but these are nit-picky finer points not the fundamentals I'm talking about here. His otherwise keen direction was clearly reflected through the actors, all of whom turned in top-notch performances - Gabriel Ebert (Jason), Toby Leonard Moore (Scott), Corey Hawkins (Perry), Jake O'Connor (Tommy),  James McMenamin (Norm), and Mike DiSalvo (Officer).

Without spoiling anything here, the play concerns a certain suicide note writing company and the people who work there.  One recent hire, Jason, seems to be set to help his clients in the opposite way of his boss, Scott's,  wishes.  His motivations regarding his behavior toward his new client (Norm), may have something to do with his brother, Tommy. 

Immerse yourself in this 85 minute intermission-less, emotionally charged drama to find out exactly what the buzz is all about.  For only $20, the theatre-for-your-dollar ratio is about as high as it can get.  As with all the previous RU productions, the subtitle of this play aptly sums things up - "Never a customer complaint".

Balls: The Musical?

It began with $6,000 from a Kickstarter campaign this past summer, raised to bring this new musical parody to the stage at the New York Musical Theater Festival (NYMF).  Sold-out and extended at NYMF, this show is back by popular demand and now making a new run, this time off-Broadway at the Lion Theatre on Theatre Row.

A few disclaimers are necessary up front 1) I'm not related to the director (Kasey Marino) although we're both kinda cute 2) my ticket was comp'd and 3) despite both of these facts, I won a free bottle of Vodka at the show - yes you read that correctly - a 1 litre bottle of - get this - Balls Vodka!  The vodka tie-in is sorta interesting given the name.  I've yet to open the bottle, but i assume that's what's actually inside.

The show, unabashedly and quite appropriately, advertises itself as A Bro-Tastic musical parody about Besties with Testes.  Created by a very clever and talented young group of men including Bret Carr, (adorable) Mick Bonde, Brandon Ellis, Michael "Tuba"  McKinsey, and Nick Verina, the parody, generally quick-paced although at time a bit clunky, manages to move through the story of 5 young straight-men who have decided to peruse a career in an unlikely field - musical theatre - with wild and reckless testosterone-filled abandon.

Musical Director, Arranger and Pianist, Sonny Paladino does a terrific job at tinkling the ivories with classic hits from Chicago, Mame, Company, Guys and Dolls, La Cage aux Folles, and others turning them into hysterical, over-the-top titalating tunes and bawdy boy-ballads filled with manhood swelling lyrics.   The show's parody genre immediately brought to mind another fan-favorite, Gerard Alessandrini's Forbidden Broadway.  This show, however, has an actual story and that certainly sets it apart and makes it more than a scene stealing parody show.

I haven't tried the Vodka yet (it's only 10:30am and I'm out of tomato juice), but i must admit it's a catchy tie-in for this show.  For the record, all you have to do to win one is buy a ticket and tweet something funny about the show just before the curtain goes up and one of the boys will bring their iPad up to the stage, check the @ballsthemusical account and pick a winner.

Now, if only those cute boys weren't so straight...   Maybe after a few shots of this magical vodka, that too, will change.

Lysistrata Jones

What's that sound?  I think it's Walter Kerr turning over in his grave.  I've been disappointed on Broadway before and I'm sure I will again.


Douglas Carter Beane and Lewis Flinn have crafted a mediocre yet clever book and score that seems vaguely Xanadu-like yet wildly inferior to it's predecessor.  The show is not lacking talented performers, but the young and talented performers are lacking a Broadway-quality product to perform in.   I'd gladly pay $20 or $30 to see this show off-Broadway where it belongs, but when a gaggle of greedy producers gets together and thinks that this crap can sell and be profitable on Broadway at $120 a ticket I wonder what on earth they were smoking!

No stars above the title, not even Lysistrata herself. None of the rest really deserving of the privilege either - not that there weren't incredibly sexy kids on stage - but it takes more than a hot, sexy jock (Josh Segarra) and his occasionally shirtless basketball teammates and a dumb-acting high school girl (Patti Murin) and her geek sidekick (Lindsay Nicole Chambers) to ignite a Broadway barn-burner.  Jason Tam, adorable and cute, gets my award for the character most likely to be seen on the next episode of Glee.   Sets were colorful (read, bright collegiate orange and blue) but how creative can you really get with the inside of a school gymnasium?)  Lighting was colorful and bright but seemed to serve as a mask, not an enhancement to the empty performances.  Occasionally when i looked up at the band (up above the performers on a catwalk - kinda cool - they seemed to be having a lot of fun with the airhead pop-laced tunes.  I wished I was too.

Truth be told I walked out at the intermission.  I can't give this one a legitimate or thorough review.  What I can tell you is not to waste your money in the first place.  The show is off-Broadway quality at best.  And that's not a BAD thing - except when you try to charge $120 a ticket on a Broadway stage.  That's the real sin here.  I hope the producers and creatives behind Bring It On learn a lesson from this one and bring us more than Ms Jones has.

Maple and Vine

Jordan Harrison's fantastic new play, Maple and Vine, being produced at Playwrights Horizons this season is storytelling at its absolute best!  Are you a tired, stressed-out, overworked tranquilized New Yorker?  This play offers you an alternative - a chance to live the "simpler life" by moving to a "community" where everyone lives authentically in 1955. The looks, the ideals, and all that goes with the culture of the era.  You'll have to give up a few things tho.  "Jamaican Jerk, Sushi, Hummus, Foccacia, Baba-Ganoush... Whole Grain Bread... No pine puts, no pesto, no Lattes...  What you will get is... Salt..."

Marin Ireland (Katha) and Peter Kim (Ryu), after much debate, decide to take the plunge for an initial six month trial and move to the gated community of the SDO - The Society of Dynamic Obsolescence after being tantalized by the concept by two current full-fledged members - Trent Dawson (Dean) and Jeanie Serralles (Ellen).  Will this "mixed-race" couple survive?  Will their neighbors welcome them with open arms?  What Ryu, a plastic surgeon, survive his job as a box folder at the local plant?  How will Kath(y), a book publisher, survive in the kitchen?  What deep, dark secrets lurk beneath the surface in this anachronistic community?  You'll just have to see it for yourself to find out.

The play is cleverly divided into it's two natural parts - Act One starts us off in current day in NYC giving us the background on just who Katha and Ryu are and why they're so discontented with their lives.  A chance meeting with Dean (and later Ellen) ultimately intrigues them enough to make the move to the SDO.  Act Two picks up with the same Kath(y) and Ryu living in the SDO working their way through the cultural, religious, and social customs of 1955.  We learn how the time was different - for many people - including Dean and Roger (played by the incredibly sexy Pedro Pascal).  What ultimately unfolds is a tale you'd never suspect - and at the same time - exactly what you would have guessed.

On such a tiny stage, Alexander Dodge (Scenic Design) has done an award winning job at designing the time-accurate yet minimalist sets.  And special shout-out to the hardest working stage crew in the biz - which was completely recognized by the director by having them take a bow along with the cast.  A nice touch and certainly well deserved.

No spoilers here - just know that it's an evening of superb storytelling in the theatre laced with racial, ethnic and political undertones that serve as a reminder that as romantic and glamorous as the time was, perhaps life was not quite so simple as we would like to think.

Fairy Tale

Just because the seats are a little uncomfortable or the location is slightly off the beaten path, don't miss a wonderful opportunity to see the re-imagination of 5 classic fairy tales unfold on stage at The Shelter.

Some of the 5 short plays suggest a reason or a background to the existing tale, others simply take a modern bent to the old story.  Each is delightful.  Each has a message.  And each is as clever as clever can be!  At less than $20 a ticket, the entertainment value per dollar spent is off the charts.  Here is a synopsis is the plays and the original tale upon which it is based:

  
Dinner for the Queen by Meghan E. Jones - Inspired by Snow White by the Brothers Grimm
R.I.P. Captain Wendel - by Andy Hassell - Inspired by Rip Van Winkle by Washington Irving
3 Sisters and a Carnie - by Beth Jastoch - Inspired by Three Billy Goats Gruff - old Norwegian tale
Kate - by Michael Bernstein - Inspired by Donkeyskin by Charles Perrault
Terror on Haxos 9 - by Jonathan Ashley - Inspired by Hansel and Gretel by The Brothers Grimm.

Between each of the plays, the stage crew, dressed all in black and white with a red pig's mask ham it up a bit to almost create a 6th show.  At first, I thought they represented the 3 Little Pigs - but when a 4th showed up, I must admit I was a bit puzzled, but entertained the entire time, nonetheless.

The Cherry Orchard

I can't say I'm a huge fan of "the classics".  But occasionally, I do know it's good to see some of them to expand one's horizons.  And there's one theatre, aptly named, in town that I always head to for my fix - Classic Stage Company.   The last play in their Anton Chekhov cycle (and Chekhov's final play) is The Cherry Orchard.

I did a little reading on Chekhov.  I'm pretty sure most of what I didn't like was his play itself.  Perhaps a bit of it was the mood and artistic interpretation that director, Andrei Belgrader, took too.  Were those 4th wall breaches in the script?  Did we need a dog?  Did someone really need to give up his seat for the old chambermaid?  Well, without much proof (and no desire to go read the script from cover to cover for stage directions), i'll just lay it in equal parts on the author and the director.

What I can be sure of is that the work is epic, poetic, and contains all sorts of oddly comedic characters that are supposed to represent the 19th Century Russian society.  The play is a comedy, but borders on farce.  It's really what today we would call a socio-political satire.  In this case, falling importance and wealth of Russian aristocracy, the freeing of and rise of the peasant class, land ownership, wealth distribution, and the blurring of the lines of class and position in society.  While the play itself seemed oddly formal or maybe a bit stilted (perhaps that is my un-cultured ear), that was completely offset by several fine performances throughout.

The dashing and commanding John Turturro and the beautifully effervescent Diane Wiest held court on the pizza-pie shaped, appropriately stained white canvas stage the entire evening.  The absolutely adorable and boyish Michael Urie made us laugh at his travails, and, not one but, two Waterston sisters took to this stage - Elisabeth as a bold attention seeking chambermaid and Katherine as the dutiful daughter.  Daniel Davis wore a cream suit suit to complement his blazing white hair and Roberta Maxwell deadpanned her absurd lines to much delight.  Josh Hamilton made being a lifetime student look easy and Alvin Epstein charmed us with his elderly gentleman humor.

A truly fine ensemble cast all around and a classic and sophisticated set as I have come to expect from CSC time and time again.  After watching it, discussing it afterwards with my play-going-friend, and now writing this, I can say for sure that I'm still not a classics-lover.  But what I can also say is that when a great ensemble cast such as this is gathered - sometimes the works come to life and resonate in ways you didn't expect.   I won't run out and buy the complete anthology of Anton Chekhov any time soon, but I would encourage you to run down to CSC and get a ticket to see this fine production if you're so inclined.

Stick Fly

Anyone can put money into a Broadway show.  I won't begrudge them that.  I did.  So what?   Well, the difference is that my name is not obnoxiously pushed in everyone's faces as if I had anything to actually do with the show I invested in.   Music mega-star, Alicia Keys, is the money and apparently the advertising hope behind Lydia R. Diamond's terrifically complex and thought provoking new dramatic play, Stick Fly.

Obnoxious advertising and blatant use of a star's name to promote a product she has no connect to aside, everything else about this play is top-notch and, dare I say, Tony worthy.  It's 2011's August: Osage County.  Ms. Diamond clearly has an ear for dialogue.  She's penned a deep work that explores issues of race, class, family, and assumptions and choices.  

Staring Dule Hill, Mekhi Phifer, Tracie Thoms and Ruben Santiago-Hudson along with Rosie Bendon and Condola Rashad take the stage at the Cort Theatre as a wealthy black family with a vacation home in Martha's Vineyard (and in the white area, too).   Both sons (Hill and Phifer) each bring home a girlfriend to meet the family.  Tensions soar, family wounds are opened, and sparks fly throughout the weekend when the basic foundations of this family are challenged in some ways they have never been challenged before.  Ms. Diamond cleverly lays bare the family issues, slowly unraveling them bit by bit, scene by scene to keep you hooked the entire 2 hours and 30 minutes.

The single massive house set by David Gallo is magnificent.  And yes, musical interludes at the scene changes were indeed original (and often too loud) music by Alicia Keys. The strength of this play is the intelligent writing and the fine performances given by several bright young actors.  While Ms. Keys might be the money behind the machine, she's irrelevant when it comes to the performances.

The Door

Part of the annual Brits Off-Broadway Festival that runs at 59E59 Theaters each year, The Door, by Tony Earnshaw, is a quick-paced, 50-minute, mystery and tension filled play about two men and a banging door.

The dialogue between these two man starts off slow and puzzling.  Why are they here?  Do they know each other?  And most importantly, why is that damn door banging over and over again?!  (Clearly not enough people read the sign on the way in warning them about loud banging based on their reaction when it started to, well, bang).

Most all of the answers to this puzzlement start to unravel about half way through the play and you begin to understand the veiled relationship between Boyd (Tom Cobley) and Ryan (Chris Westgate).

Mr. Earnshaw has cleverly disguised a sharp-witted play about politics, war, class, and honor in a very simple box without adornments.

Theatre C at 59E59 is the small, intimate black-box theatre which is just perfect for this brief interlude.  As long as you don't try to take a seat in the few empty chairs "on-stage" next to the two gentlemen awaiting their performance (as two dim-bulbs did at the performance I attended), you'll likely enjoy the powerful and honest performance from these two fine British actors.

Be warned of the loud banging door.  It just might "drive you round the bend".