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Thursday, November 20, 2014

On A Stool at the End of the Bar

A new play by Robert Callely had its debut over at 59E59 Theaters.  I always enjoy seeing different things over on the east side in the intimate theaters.  The productions that grace the stage are usually unique, provocative, or just a different and interesting theatrical experience.

Last night's opening, however,  of On a Stool at the end of The Bar left me feeling a bit empty and somewhat puzzled.  Mr. Callely wants to convince us of something that simply seems preposterous (not only to the characters in the play).  When the entire premise of the play is suspect, it's hard to really enjoy the general goings-on.  Despite some fairly decent performances, there's not much to salvage from this show.

However, to be applauded are the three young actors who grace the stage - Luke Slattery (Joey), Zachary Brod (Mario), and Sara Kapner (Angie).  Anyone who writes material for such young, eager, and energetic talent is to be applauded.  All three turned in fine performances, with Mr. Slattery and his good college-boy looks taking the pole position.  Robert Hogan (Father Connors) made a fairly impactful cameo appearance in his scene playing and old and old fashioned priest with limited experience in dealing with the issues presented to him.  Possibly the most well written part of Mr. Callely's play.  Timothy John Smith, a Boston native recently transplanted to NYC, has a bright future in front of him here whether in musicals (his bio suggests he has much experience in this area) or dramatic plays - which is what he demonstrates quite nicely in this awkwardly written conflict of this play.

That just leaves Antoinette Thornes, quite a quixotic choice for the leading lady.  She turned in as best a performance she could for the very awkward and poorly written part for her.  She never fought.  She never stood up for herself.  She found herself in quite a pickle and with such a past I would have expected an entirely different, potent, angry, repressed, and strong character.  And since this is the central nerve of the entire play... well, I think u see the problem now.   None of this is Ms. Thornes' fault, of course.  She herself is a rock-band singer/songwriter - and this likely may have been her debut on stage.  To that end, she is triumphant and I applaud her risk taking.  Her character, on the other hand, was likely the most disappointingly written character I have ever encountered.

In the end, direction by Michael Parva was lackluster and lacked any sizzle given the explosive nature of the subject matter.  Actors were angry but that anger was flat and muted.  In such a small theater, sometimes miracles are possible and the show transports you in an intimate setting to an entirely other place.  Unfortunately none of that happened this evening.  We were left in the end with uncertainty, anger, unresolved conflict, and although I believe we are supposed to see a glimmer of hopefulness in the very last line of the script, it was not nearly enough to clear the black cloud of gloom that hung over the entire evening.

Tuesday, November 11, 2014

Love Letters

A. R. Gurney admits it right up front in his script - "This is a play, or rather a sort-of-a-play, which needs no theatre, no lengthy rehearsal, no special set, no memorization of lines, and no commitment from its two actors beyond the night of performance."

So how on earth can this be good?  Sounds like you slap it together and throw it out there.  Sounds like a reading you're paying Broadway prices to watch - or rather - merely listen to.  So is it worth it?

The answer to this question is a resounding YES provided the actors are ones you want to see - or rather hear.  I suspect the secret to a production of this sort is to cast actors who generally embody the phrase "I could listen to them read the phone book".

The show itself is simply a recitation of various letters and thoughts exchanged between two friends over 40+ years who never quite caught up with each other as their lives slipped away in two vastly different directions all the while clinging to each other's letters for that single thread that bound together over time.

Of all the announced couple pairs there were a few individuals in each pair I wanted to see perform but the only pair I wanted to see BOTH was the current cast of Candice Bergen (Melissa) and Alan Alda (Andrew Makepeace Ladd III).  Yes, I could listen to them read the phone book and what a joy it was to see them read the love letters over time to each other - according to the stage directions - never looking at each other.  Direction in this case, by Gregory Mosher, is focused on vocal queues, pauses, pace, and rhythm.

This isn't much of a play.  It's a sort-of-a-play.  More like a long bedtime story read to you by two hopefully brilliant actors with irresistible voices.  You'll either fall asleep happy in the theater (hopefully not) or leave the theater with a smile on your face after hearing such cherished actors tell you a story.

Thursday, November 6, 2014

You Can't Take It With You

Moss Hart and George S. Kaufman's stale and dated play is currently exploding (literally) on stage at the Longacre Theatre in a 3rd Broadway revival since it was written in 1936.  This is a commercial run that was somehow caught up in the non-profit theatre vortex of Roundabout Theatre Company at the same time (I'm sure this was another trick up Roundabout's leave to keep costs low by not having to produce an original work this season).  

While the plot is madcap (frankly, crazy), the mayhem level and star level on stage is quite substantial.  The only problem is that it's frankly too stupid with a rather banal message of simply "be happy".  There is a love story going on amongst all the hubbub and but the Carol Burnette and Saturday Night-like sketch and physical comedy simply overpowers the message and muscles its way through all 3 acts with laughter often the result but never much satisfaction past that.

The cast is huge and stars abound - James Earl Jones (Martin Vanderhof) could read the phone book and we'd all be happy and the role of the patriarch fit him age wise, but not quite stylistically.  Kristine Nielsen (Penelope Sycamore) simply knocked it out of the park with her physical comedy and infectious personality.  Annaleigh Ashford (Essie) was a bit too over the top for me as the incessant ballet dancing ditsy daughter, Mark-Linn Baker (Paul Sycamore) seemed lost in the overall mix for his talent level, Elizabeth Ashley (Olga) came in at the very end and it seemed her voice was straining to make sound.  Plus by the time she entered, the endless cast of characters parading on stage simply got me tired.  There were no less than 10 other cast members who all looked good and seemed to complement the ensemble but after a while too many characters are introduced.  I applaud a producer who undertakes such an ambitious production and employs such a large cast, but this old firecracker is a dud.  I could go on... as did the play for over 2 hours and 30 minutes over  three acts... but I won't.  

In traditional Roundabout style, the set was magnificent (kudos David Rockwell).  I do not think the actors were mic'd and it was pleasing to hear real people speaking in non-electonicized tones on stage for a play.

You could skip this production, save a few bucks, and leave the audience-going to the Roundabout subscribers who paid good money into their subscription only to find out they were subsidizing a commercial run of a Broadway production.

Thursday, October 30, 2014

Found

Just when you thought all the original ideas have dried up and creativity has gone the way of the Ford Packard, along comes Hunter Bell & Lee Overtree (Book) and Eli Bolin (Music and Lyrics) and a fantastic new work appropriately titled Found.  Yes, that's Mr. Bell from [Title of Show] fame.

Scraps of paper floating in the wind, discarded in the gutter, and left for dead.  Well, so we thought.  Mr. Bell and Overtree have constructed a musical entirely from real scraps of paper with musings, jottings, notes, and thoughts.  Literally thousands and thousands.   A virtual potpourri of material and endless shots entertaining and audience.  Indeed this is true.  What struck me most during this entire magnificent production was the sheer enormity of choices the writers had.  They built a basic love story for Generation X, Y, Z, millennials, or whatever we are calling the kids today and peppered it - strike that - iced it from tip to toe - with these little tid-bits.  Entire songs were written around some of the longer more meaningful scribbles - and virtually every 10 seconds or so another one was projected both aurally and visually to the audience.  

So that's what struck me most often - but dare I say - what struck me most deeply was the sheer modernity of the idea behind the musical itself.  It struck a chord of reality in our throw-away society.   In an age of digital our notes and musings often get relegated to post-its and scraps of paper.  Nobody writes longhand and at length anymore.

The always adorably handsome Nick Blaemire  (Davy) essentially helms the fun production and both he and his co-stars (a plethora of unique talent unto themselves) turn frowns from a busy day at the office into double-decker smiles by the time the evening is complete.

Featuring a a rocking on-stage band and racially and ethnically and culturally diverse Christina Anthony (Christina), the handsome and virtually dripping-with-sex Andrew Call, TV's funny man Danny Pudi (Danny), Betsy Morgan (Kate), and Cabaret diva Molly Pope (Molly), and Orville Mendiza (Orville),  I found myself leaving the theater thinking that I have never seen a show where the actors had so much fun entertaining me!

Tuesday, October 28, 2014

Grand Concourse

What we have here is one of the most realistic and naturally constructed plays I have seen in a long while.  Heidi Schreck writes like people speak, and think, and wonder.  Kip Fagan has done a marvelous job at "keeping it real" on the stage.  Playwrights Horizons presents yet another  provocative, thought provoking discussion pieces on the small stage upstairs.

Shelly (Quincy Tyler Bernstine) is a soup kitchen manager struggling with God and religion.  Emma (Ismenia Mendes) strolls into her life and turns it upside down - or perhaps you'll think right side up by the end).  Ms. Bernstine is magnificent in her struggles and in her overall performance.  Bobby Moreno, Oscar, a relatively young, talented, and often type-cast janitor, turns in yet another solid and loving performance.  Lee Wilkof (Frog) brightens up the room with his infectious attitude, despite his deep troubles.

Performed without an intermission this 1h:40m production never ceases to entertain and keep your attention.  The characters are provocative, interesting, and quite real.  The title comes from that famous road up in the Bronx where a soup kitchen of no specific identify exists.  The characters aren't made up and in fancy costumes.  The set is a simple, slightly run-down kitchen and the action occurs in several vignettes always coming back to Shelley praying or rather trying to pray at the microwave.

This production has teamed up with City Harvest (soup kitchen in play - food rescue organization - a great pairing) to collect and I assume "rescue" some of the food and vegetables used on stage each night.  Drama for both the soul and the stomach.  Not bad for a Tuesday night at the theatre.

Thursday, October 23, 2014

The Real Thing

Tom Stoppard is certainly on a roll.  He, like his compadre Terrence McNally, has two plays running concurrently, in this case, both at the Roundabout Theatre Company.  His latest installment at American Airlines Theatre, on Broadway, is The Real Thing.

This one is heady.  Make no mistake.  Mr. Stoppard is a linguist and writes very, very smart dialogue.  In my brief reading before the show I discovered that this particular show may be a bit autobiographical too.

Henry (Ewan McGregor) an erudite playwright (some might call a snob although his wife uses another similar British slang word), as is Mr. Stoppard.  This play is quite the intellectual study of love, marriage, commitment, and relationships.  He's first married to Charlotte (Cynthia Nixon), but quickly changes gears and falls in love and marries Annie (Maggie Gyllenhaal).  Josh Hamilton plays Max, an actor and first husband of Annie. A tangled web indeed.

We get tangled up in Henry's relationship, views on commitment and love and how those may differ from both Charlotte (his first wife) and Annie (his second wife).  What is jealousy?  Does one person's commitment equate to how the other person sees it?   Can we really just love one person in life?  These and dozens of other lofty questions are batted around during the play - which by the way features the "play within a play" format at the opening with quite a satisfying effect.

I'm pretty sure Mr. Stoppard didn't originally write in the music to the original script and likely (although I can''t really be sure) it was the creation of the brilliant director, Sam Gold.   I understand there may be some additional gimmicks with the music, the cast, and a digital display in the theatre.  There's always a gimmick these days.

Smart, heady, intelligent - this play aims high and delivers on it's promises with a remarkably competent and dazzling cast along with the choices of music both during the show and between the scene change breaks.

An interesting trivia note, Ms Nixon was featured in the original production when she was a mere teenager (as the daughter) and now returns triumphantly as her mother.  The small world of theatre just got even more so.

Tuesday, October 21, 2014

Lost Lake

I have to say I was a bit lost at Lost Lake.   For it's first ever public performance, the actors were remarkable.  They writing was as natural and fluid as possible.  What I struggled with was plausibility.  First off, the play isn't about anything, which may turn some people off.  It's just a slice of life, this is how it is, life deals you lemons so make lemonade - kind of play.  That's not to say the characters were not compelling or interesting in some way as the play actually held onto a slight uncomfortability factor the entire time.  It was just unremarkable in many ways.  It was provocative in its ideas, but unremarkable in execution.  That said, I really think many will not enjoy it and come away thinking they just watched a boring episode of a TV show (as the man who sat next to me in the lobby afterward proclaimed).  Some will walk away thinking.  And some will just... well... walk away.

This two hander set in a cabin in the woods outside New York City penned by David Auburn and aptly directed by Daniel Sullivan stars John Hawkes (Hogan) and Tracie Thomas (Veronica) who are at the same time both liars and nice people.  One of them may be a bit mentally ill and both of them have made certain mistakes in life they now come to regret - some of those mistakes are actually unearthed by the other.  It has its charming moments and is performed (thankfully) without intermission over at Stage I of Manhattan Theatre Club at NY City Center.

Wednesday, October 15, 2014

Lips Together, Teeth Apart

What a magical time on and off Broadway for Terrence McNally.  Three of his shows - two now running concurrently (Lips, It's Only a Play) and one that just closed (Mothers & Sons) are/were on stage entertaining audience to various degrees of success.  Unfortunately, Lips Together, Teeth Apart is likely on the bottom of the success scale.  Unlike his other two plays which evoke opposite but equally powerful emotions - a visceral reaction (Mothers and Sons) and hysterical laughter (It's Only a Play) - this play is neither rousingly happy nor sad.  It just is. And it wasn't that good.

As a matter of fact, it has the triple-whammy of being slightly boring, all over the map in terms of storytelling, and slightly mis-cast.   Boring?  The story is what it is - two couples on Fire Island at one of the women's dead gay brother's house.  Why are they here?  What keeps these couples together?  Why do we care?  Those questions are barely answered although asked repeatedly on stage.  All over the map?  Yes they talk endlessly about lots of issues - many of which are tangential to the plot, some of which make you wonder why they are telling you this. We never see the gay neighbors to contrast the straight (and out of place) couple at the house.  It's 1990 and AIDS is still an unknown but we really only learn why they are afraid to swim in the pool at the end of Act 3!  Miscast?  Trace Chimo (Chloe) ruled the stage with her overbearing and hysterically funny character.  She hit it out of the park.  America Ferrera (Sally) underwhelmed significantly.  She seemed lost of the stage and generally flat.  Austin Lysy (John) seemed too young and although quite handsome, not as cock-sure as the dialogue might suggest.  Michael Chernus (Sam) just didn't seem to fit with Sally and left you wondering why they were even together in the first place.

Casting aside - A 3-Act play is unique.  This play was way too long for it's own good and it felt like we just wasted time in between for both intermissions and ultimately didn't end up resolving much and left you wondering just what the point was after the 2H:30M is up.

I'm left wondering just what the first incarnation of this play would have been like a while back when Roundabout was going to do it but star Megan Mullally (Chloe, i presume) stormed off the set and quit.  For Roundabout that just may have been a blessing in disguise.  

Tuesday, October 7, 2014

Scenes From a Marriage

The effect is jarring.  The result is jarring.  Nothing about Ivo Van Hove's re-imagination of Ingmar Bergman's already jolting TV mini-series and later screenplay involves bliss and happiness.  On the contrary, the scenes from this approximately 20 year relationship depict the most difficult parts, the growth, change, and friction that marriage can bring.

Mr. Van Hove chose to divide this stage play version into 2 parts.  The first act being 3 scenes in isolated mini-theaters built inside the theater.  These mini-theaters allow sight and sounds from each concurrent scene to waft into the other.  I believe this was meant to evoke the feeling of memory and remembering the past over and over.  Sight-lines through a window into a central room where the actors all collected themselves evoked a similar feeling of a bit of visual snip-it of memories.  All a bit off-putting when the action starts, but once you realize this is intended, you settle in for this bumpy ride.

As you can tell, since there are 3 scenes running concurrently, there must be 3 sets of actors playing the roles of Johan ad Marianne.  Casting appears to me to be quite intentional too.  The actors were the furthest thing from 3 sets of the same people.  Super handsome and hunky Alex Hurt and Susannah Flood are the youngest and most eager of the 3 couples in approximately the first 5 years of their marriage.  Dallas Roberts and Roslyn Ruff are the middle couple struggling with years of habits and rituals, boredom, and long standing issues in the marriage.  Arliss Howard and Tina Benko round out the couples as the oldest and desperate for change.  There's an affair, a one-sided discontent and issues buried deep and repressed over the years.

When  you exit the theater for a 30 minute intermission and told to all re-enter through the main doors, you can only imagine that they must be transforming the theater into a single stage somehow.  Of course they do - and it's a common performance space in the middle with the seats surrounding it - all the walls have been lifted above to reveal this massive space in the entire theater.

Act two is distinctly different with fascinating results.  All 3 couples appear on stage but this time they all recite the dialogue and act out the scene in triplicate.  Stereophonic dialogue and action.  What further throws you off is that the actors all fluidly interchange with each other and speak male to female among the various couples - throwing off your regional thoughts about the couples and making you focus on the dialogue not the physical characters themselves.  This part is sequentially later than the first act and the discord escalates into a fight.  They are fiercely independent people with modern ideas about marriage and relationships.  It's not your parents marriage.  Speaking of parents, Mia Katigbak aptly portrays the mother of Marianne and reveals this stark approach to marriage that the older generation took.

The play concludes in the last scene with only the oldest of the 3 couples where the couple is divorced, moved on in life and both re-married, but still attracted to each other in a quite honest and creatively lit bedroom scene.  We hear some of that memory-evoking music (still played on a turntable because of course they wold still have one) that the couple would have enjoyed in the 70's which brings us all back to the original time the couple must have met and fell in love.

You will certainly leave the theater with feelings about what you saw.  One older woman in the audience asked me during the end of intermission if I was married.  I, of course, answered "No" to which she responded "Well do you understand any of this?".   I told her "I think I get it".  To which she replied "I lived through this.  I am hating it and loving it at the same time".   Now that's good theater!

Thursday, October 2, 2014

Billy & Ray

This play had good intentions. I wanted to like it.  I really did.  Especially starting the uber adorable Vincent Kartheiser (Billy Wilder).  But it wasn't.  And he wasn't either.  Maybe it was the bad haircut?  More likely it was the fake accent.  Since it's required for the plot of the show, I suspect that casting may have been the problem at its core.  After a thorough review of the show with my theater-going friend afterwards, we came to the conclusion that not only was casting off, but so was directing.  Garry Marshall - legend in the world of television - turns out that he's not so good in the theater.   So many missed theatrical opportunities.

It was a play about a movie.  But much of the play was spent telling us the story rather than acting the story.  It all added up to a disappointment.  Larry Pine (Raymond Chandler) did an admirable job and had some good lines, but once again, he needs to learn his lines.

Drew Gehling (Joe Sistrom) and Sophie Von Haselberg (Helen Hernendez) rounded out the cast, however I found Helen Hernandez to be a rather pointless character (except for one notable scene where she comes up with an idea).

Overall a disappointment.  But they certainly deserve credit for trying.

Tuesday, September 30, 2014

Disgraced

What's going on over at the Lyceum is nothing short of theatrical excellence.  New, fresh, culturally relevant theatre is what Disgraced, a new Pulitzer prize winning drama by Ayad Akhtar, is all about.

Hari Dhillon (Amir), Gretchen Mol (Emily), Josh Radnor (Isaac), Karen Pittman (Jory), and Danny Ashok (Abe) round out an excellently constructed cast of a wildly culturally and religiously diverse cast.

Needless to say, with such a diverse cast and plot, the boiling point is reached in less than 90 minutes.  Part religious lesson, part history lesson, part culture and tolerance lesson, this show sizzles with issues.

You'll walk out of the theater thinking about this one.  There's the obvious infraction and the less obvious issues which are simmering under the covers about tolerance, Islamic fundamentalism, the Muslim religion's roots, and "fitting in" and what the price is in America.

Don't miss your chance to meet quite possible the strings ushers in the theater on Broadway and the highest climb to the dumpiest balcony on Broadway to see this stinger of a show.

Thursday, September 25, 2014

Indian Ink

The indomitable and erudite Tom Stoppard is making a big splash both on and off Broadway this season.  The first installment of him is being presented at the Laura Pels Theater by Roundabout in his magical and mysterious 1995 work, Indian Ink.

Although the cast is anchored by the most adored Rosemary Harris (Elinor Swan), this cast is littered with talent of all sorts and cultures - most notably Firdoug Bamji (Nirad Das) and Romola Garai (Flora Crewe).  Mr. Stoppard is not known for brevity or simplicity and Mr Bamji, Ms Garai (and the entire cast) does not disappoint over the long haul of this magical tale effortlessly criss-crossing 2 time periods weaving its story.

The magic is both that of the Indian culture during the colonial days (1930's) and that of the mystery of memory and recollection in 1980's England.  Mr. Stoppard waves a tale replete with love and intrigue as well as a bit of a history lesson about the British and colonial India.

The full 3 hours is consumed with flashbacks, explanations, exposition, culture and mystery.  A challenge both intellectually as well as theatrically, Roundabout and this fine cast adeptly transverses the time periods with effortless aplomb.

While you may not catch all the Indian culture names and references, you will certainly follow the essence of the poem to two lovers and the trail of their memories years later.  

Tuesday, September 23, 2014

On The Town

It may be just what Broadway needs right now - a lavish, classic, good-'ol song and dance show on the great white way.  Betty Comden and Adolph Green's classic with music by the incomparable Leonard Bernstein has been made fresh again for a new generation of theater-goers.  And by all accounts, this revisal will delight audiences far and wide.  An orchestra of epic proportions plucks, strums, and toots with wild abandon to the gorgeous and lush musical score by Leonard Bernstein while the actors sing and dance - (do they ever) - to the highest of heights.

The über dreamy Tony Yazbeck helms the cast of over 40 characters as Gabey along with the deliciously sexy Jay Armstrong Johnson (Chip) and Clyde Alves (Ozzie) - 3 sailors let loose on New York City in 1944 on a 24 hour leave with the hopes of each finding a dame.  It's fun, fresh, wholesome, and naughty all at the same time.  The hilarious Jackie Hoffman takes on the role of Maude Dilly (and a little old lady, and several nightclub stars) with brilliant comedic genius.  I am pretty sure much of the revisal work was done in her sketch comedy-like scenes to wild success.  Megan Fairchild (Ivy, Miss Turnstiles), Alysha Umphress (Hildy, the taxi driver), and Elizabeth Stanley (Claire DeLoone) each portray one of the dames - each different, each perfectly cast.  This was Ms. Fairchild's Broadway debut as she is normally a principal dancer with the New York City Ballet.  Ms Umphress is a Broadway veteran but this just may be her break-out role as she knocks Hildy out of the park.

Brilliant scenic design (Beowulf Borritt) and lit (Jason Lyons)  - it is a near perfect picture of the boys in brilliant white sailor suits surrounded by a pastiche of technicolor city dwellers.  Projections are getting near indeterminable from actual scenery and the result is simply marvelous.   This show is significantly stilted toward a ballet and none better than Mr. Yazbeck and Ms Fairchild to execute each jump and lift with effortless aplomb.  I'm pretty sure Jerome Robbins (original idea and choreography) would be pleased with the outcome over 70 years later.  Most likely Comden and Green would also be pleased with Robert Cary's and Jonathan Tolins' book freshening updates.

The theater itself previously housed quite possibly the most different type of show (Spiderman) prior to this - so much so that one could speculate it required a name change back to its original - The Lyric.

Classic material in an old fashioned Broadway house with deliciously fresh talent - it certainly makes for one helluva show!

Thursday, September 11, 2014

The Curious Incident of the Dog in the Night-Time

A dazzling, innovate, and entirely engrossing production by Simon Stephens is making a splash on Broadway this fall while still running their award-winning production in London's West End.  It's that good.  It couldn't wait.

Alex Sharp (Christopher Boone), a 2014 graduate of Julliard, (that's about as fresh-meat as you can get!) helms the production with pure genius and what appeared to me to be a virtually flawless and powerful performance. That's quite an achievement given he's playing a 15 year old boy with the challenge of Asperger's Syndrome on the journey well beyond his wildest dreams.  In the approximate 2h:30m production he is never off the stage - holding court on his journey just about the entire time.  His way.

What's on stage, you ask?  Well, it's empty, black, and filled with all sorts of lighting and small props that get pulled out of tiny hidden compartments all over the floor and the walls.  The walls are mostly covered with a grid-like design of lights, providing what I thought was a map - like the fabric of Christopher's brain and his thought process.  Plenty of projections augmented an already complicated design and with a few moving parts, a few mind-blowing effects such as a full-stage sized escalator leaped to life. There was perhaps more choreography than in some musicals.  Ne'er a song was uttered in this fast-paced drama, however.   Lighter moments of comedy - plenty, but the focus was firmly on Christopher's journey, the inner voice in his head, his play (which is what he wrote and what we are hearing), and that of his family.  Pure Genius.

The multitude of other characters were played with equal aplomb by Francesca Fardany, Ian Barford, Enid Graham, Helen Carey, Mercedes Herredo, Richard Hollis, Ben Horner, Jocelyn Bioh, and David Manis.  

I was clearly not only the only one impressed. The true New York audience (it was only the second preview and that's when we go to catch the good ones early) leaped to their feet in unison before the cast even stepped out for their bows.  It was that good. I was that impressed.  Really impressed.  Dare I say at this early juncture, I'd gamble that Mr. Sharp will be a shoe-in for Tony nominee at his tender age.  It really was that good.

Tuesday, September 9, 2014

The Country House

A new play just arrived on Broadway courtesy of Manhattan Theatre Club and award winning playwright Donald Margulies. It's a dash of classic play, a dash of naughty, and a dash of funny.  Add it all up and you have a fairly solid run at a family drama.

It didn't bowl me over.  Those dashes I mentioned, well, a few could have been tablespoons or half-cups.  It wasn't bad, it just wasn't compelling.   Perhaps it will grow tighter with time as I saw an early preview, but my gut tells me there just isn't enough to draw the audience much past the front door of the fantastic country house (Sets: John Lee Beatty) we see on stage.

Blythe Danner (Anna Patterson) is the matriarch of the family in question here.  The family is mostly actors.  Her daughter is dead and it's a year afterward and she's getting the clan together at the country house in Williamstown (they are actors, remember) for the the anniversary of her death including her son (Elliott Cooper) Eric Lange, her son-in-law (Walter Keegan) David Rasche and his new girlfriend (Neil McNally) Kate Jennings Grant, her granddaughter (Suzie Keegan) Sarah Steele, a hunky young Hollywood actor (Michael Astor) Daniel Sunjata.

There are a few twists and turns in the plot, an inside running joke about the theatre and actors, and of course a little naughty intrigue all surrounding that gorgeous and successful Hollywood actor.  Well cast, but it was a studio sized result when I was expecting a classic 6 or more given the level of talent on the stage.

Thursday, September 4, 2014

This Is Our Youth

I get it.  Cutting-edge theatre, young hot actors, minor (or not-so-minor) indiscretions, drugs and, of course, sex.  What more could you ask for in a smart-off Broadway production in a dumpy (read avant-garde) theater?  Not much I suppose.  But the problem here is that it's not off-Broadway (although the Cort Theater is a dump).

What we have here is Broadway prices to see some young hot actors tell a rather pedestrian story in 2 ½ hours in what could possible have been a 65 minute no-intermission short-play with a lot more impact.  More impact, that is, except in the producers' pocketbooks.  Who would pay $100+ a seat for that?  Nobody is my guess.  So it has to run on Broadway and the requisite unearned hype is made and we all buy tickets.

Don't get me wrong, the un-mic'd actors on the not-as-messy-as-it-should-have-been set are basically yelling at each other most of the play about their youthful irresponsibilitys, messed up lives, and those of their friends.  Kenneth Lonergan wrote this play in the '90's and it has had a few off-Broadway and regional runs with marginal success prior to this. In this incarnation, Michael Cera (Warren Straub), Kieren Culkin (Dennis Ziegler), and newcomer Tavi Gevinson (Jessica Goldman) grace the stage.

The problem wasn't the acting.  That was solid.  No complaints.  The story, on the other hand, was way too long, too repetitive, and contained a message in the last 5 minutes of the 2 ½ hours that could have been arrived at minute 55 of 65 without an intermission.  This material is perfectly suited to a short-play.  I'm not complaining about the material - drugs, sex, messed-up kids with first-world-problems.   I just wish the writing was more focused, brief, more impactful, and went somewhere.  Anywhere.  Mr. Lonegran's expansion of this material into a full-fledged 2-act stage play is a mistake.

For this we pay $100 and get very little in return from the fine performances on the stage.

Wednesday, September 3, 2014

It's Only a Play

In full disclosure, I'm looking to recover my investment in this play.  I don't see why I can't sing the praises of this double-over-with-laughter, pee-in-my-pants production at the same time!

The best comedic actors around grace the stage in Terrance McNally's two-act romp over at the Schoenfeld Theater on West 45th.  Nathan Lane (James Wicker), Matthew Broderick (Peter Austin), Megan Mullally (Julia Budder), Stockard Channing (Virginia Noyes), F. Murray Abraham (Ira Drew), Rupert Grint (Frank Finger), and adorable and very lucky newcomer, Micah Stock (Gus P. Head), all grace the stage and hold court with uproarious results.

In my opinion this is a very strong argument for a Tony category for Best Ensemble Cast.  Hands down, they complement each other and each fuels the others in pursuit of the punchline.  That said, Mr. Lane is clearly the leader of the pack with his hysterical mugs, unexpected outbursts, one-liners, and generally effervescent stage presence.

Mr. McNally wrote this play in the late 70's and revised it in the 80's and has again undertaken a massive update to make the show culturally relevant to an audience today.  As it is opening night of a Broadway play (the play within the play), there are quite a few pop-culture entertainment oriented references (and jokes) to be had.

This is a limited engagement and I encourage you to RUN to the box office and get your tickets today. Despite the outcome of the reviews of the play-within-the play, you won't be disappointed in the least and may end up with a pain in your side --- from all the laughter.