Desperate Writers

A wholesale waste of time at the Union Square Theatre.  The house was virtually empty.  I knew this wasn't going to be a good sign.  It only got worse from there.

Written as a complete farce, it pits two desperate writers against three alleged "power-producers" in Hollywood.  Throw in some over-the-top, completely unnecessary characters on top of the bad writing and flat out dumb plot and you've got the formula for the complete mess that wasted about 90 minutes of an otherwise decent Saturday afternoon.    I've seen farce before, and for it to work, it has to be funny.  This was just crap.   Two otherwise normal writers are so desperate to sell a script that they kidnap some producers, lock them in a cage and force them to listen to their script.  On top of the already farcical plot - the script that they are trying to sell pure garbage too.  It was like double torture listening to them read the script of a bad play IN a bad play!

The actors all came with game faces on - full of energy and some even with some good comedic delivery Jim Stanek (David) was a stand-out.  But in the end the material was just so plain old dumb nothing could save it.  Think tiny bucket on the deck of the Titanic.  Wasted effort.   But my congrats to some of the fine character acting on stage.

Upon closer examination of the program at home, I realized that one of the writers of the play itself, Catherine Schreiber, was actually also one of the main characters performing too - one of the producer characters!  Now isn't that the pot playing the kettle?!  While I admire the effort of all the writers and actors involved (none of this is easy by any stretch of the imagination), I really don't even think this material was of the caliber of something like Saturday Night Live - where this farcical stuff is most at home.

Disappointed to say the least.  At least I got some delicious strawberries at the Farmer's Market in Union Square on the way home.  Barely a consolation.

It Must Be Him

A late summer gem is playing over at the Peter J. Sharp Theatre above Playwrights Horizons for the next few weeks.  I don't know who Kenny Solms, the playwright, is, but he should have a career in situation comedy writing if he doesn't already.  When it's laugh-out-loud funny, you don't mind the fact that is seems like a TV show.  Matter of fact, when done well, it's just as good, if not better.

Peter Scolari helms this romp playing Louie Wexler, an aging 50-something, Beverly Hills based comedy writer from the days of variety TV who is down on his luck, out of fresh ideas, out of cash, and barely out of the closet.  (Seemed to me this could have been based on most any Hollywood writer!).  He lives alone, loves boys (who he never seems to get),  and is tormented by visions of his dead parents (Bob Ari, Alice Playten), his high school girlfriend (Stephanie D'Abruzzo) and his living brother (Jonathan Kaplan) - all who bring varying levels of guilt to the table.  His housekeeper, Ana, (Liz Torres) is best remembered for playing the "es-panish es-peeking" nurse to Archie Bunker on All in the Family who could say "Cardio-Pulmonary Resuscitation" but had trouble with "chiis" (that's cheese, if you can't hear my accent in the typing!).  In many ways she brilliantly reprises the devilishly lazy and innocent Latina role here once again.

The object of Louie's affection, 20 year old Scott (Patrick Cummings), wants to break into show biz.  He lives in the guest house but Louie wishes it were so much more! (this seems to me to be the classic Hollywood situation!).  People of Louie's generation didn't come out and stuck to writing funny material.  He's fresh out of ideas, his guilt and longing for a relationship is gnawing at his psyche and he's going to lose his home.  He finally decides to write something new and for the first time it's based on all the people in his real life (the "play within a play" thing).  Turns out, in the end, that his agent (Edward Staudenmayer) may just save the day!

Despite all the camp (and there is plenty) and obvious jokes (there are many) the show comes off as well done.  It's fast paced, it has musical numbers (remember, Louie writes variety shows), and plenty of belly laughs and one liners  - all in 90 minutes without an intermission.  Bravo.  The cast seems to be enjoying themselves on stage - most of all Peter Scolari - who plays the neurotic 50-something with aplomb.

Die Mommie Die!

Charles Busch wrote and directed this comedy-thriller. As Angela Arden, an aging and washed up singer and actress, Thru little gestures, voices, and tell tale phrases, Angela evokes stars of the golden era - Bette Davis, Joan Crawford, Lana Turner, Tallulah Bankhead - and more! And the wig she wears smacks of Lucille Ball! It also doesn't hurt that Bootsie (Kristine Nielsen) - the housekeeper looks and sounds like Ethel Mertz!!

It's quite a farce - but a classic romp, nonetheless. Set in what could only be called a classic Beverly Hills home, Angela Arden has two kids (Lance and Edith) both of whom have deep emotional issues - presumably from being raised by Angela! Lance (with or without his short shorts and shirt off) is a dreamboat (Van Hansis - the gay teen on As The World Turns). Bob Ari aptly plays the mega-Hollywood movie producer in debt to the mob- Sol Sussman. His image brings to mind Mr. Goldwyn or Mr. Mayer.

All around it's a murder mystery with a B-Movie ending. The "bad" acting is on purpose - and you don't mind it for a minute. You are there for camp - and camp you get! The mere budget for the glam hostess dresses and "a few very important peices of jewelry" Angela appears in must be half the show's budget alone!

For a night of comedy-noir just stroll on over to see Charles and the entire cast ham it up in this one act treat!

Frost/Nixon

In 2007, you're bound to find more than few people alive that have no or very little knowledge of Richard Nixon, his presidency, and Watergate. I was only 3 at the time, myself. This play focuses on the story of the David Frost/Richard Nixon interviews - the first ones granted by Nixon after his infamous resignation. The Nixon camp assumed that the almost washed up Australian talk show host David Frost would be a pushover and Nixon would use the interviews as a way to get back into the public favor. The Frost camp, as you would imagine, thought the same thing but with respect to David Frost.

Frank Langella portrays Richard Nixon so well that you would think he rose from the grave to play the part himself. Not being as familiar with David Frost, I do think Michael Sheen played him well based on what other people tell me he was like.

As far as the play itself goes - too long! You do not keep an audience in the seats for 2 hours without intermission! Aside from that insult and injury - the play also had far too many filler and back story elements. Yes, we needed to know that back story to both sides, but possibly not as much as we were given.

Maybe this was just my expectation, but I thought we would see more of "the interview". I mean the play is billed as "The Face Off of the Century - Live on Stage" I think if they flipped the balance, the play would naturally build up to this important interview and you would be absorbed in it's progression and the drama could have unfolded within it. Instead, by the time the interview rolled around after 1 Hour and 30 minutes - you were anxious and trying to figure out how much longer this thing was going!

The rest of the cast was marginal - partially because some of the parts were written as marginal characters, but the the other ones were just played by marginal actors i suppose. I felt a vast crevasse between the talent of Frank Langella and everyone else. Or perhaps that was done on purpose? Isn't that how Richard Nixon was in real life - larger than everyone else?

In summary, a superb performance by Frank Langella that was neither matched by the rest of the characters in the play or the actors cast in those roles.