Six Degrees of Separation

I just had to see the first preview of John Guare's theatrical classic, Six Degrees of Separation on Broadway. After all, I never saw the movie and knew almost nothing about it except the vague notion we all know about everyone being connected and somehow that connection being approx 6 people.

Aside from the few very minor late entrances and missed queues which are inevitable at a first preview, this unexpectedly large cast performed like a well oiled machine.  The modern set (kudos Mark Wendland) was intriguing especially when i sat off to the side at the end.  The two sided Kandinsky painting was a magical centerpiece, rotating high above.

Allison Janey (Ouisa) mastered the script with aplomb and seemed to be the perfect fit for the intelligent, slightly overbearing, and confidently funny and sarcastic wife.  John Benjamin Hickey (Flan) seemed to exude art-dealer and all the eccentricities that go along with that job. Corey Hawkins (Paul) seemed to be born to play the role of con-man - devilishly handsome and debonair, intelligent, well spoken, and slick as all heck.  What I didn't really expect were the neighbors, the neighbors children and a few others like a doorman, and a police officer to fill the cast to such a degree.  For a 3 person play, the cast of 18 filled the stage occasionally.

Trip Cullman's direction seemed to embrace the large stage and use it effectively - keeping the back area a bit fuzzy and unclear which fit the mood perfectly.  Deconstructed in a large Broadway house but not too deconstructed as to be barren.

So what did I think?  It was a bit confusing to follow at times - dialogue is snappy and crisp and if the actors speak over a laugh you might miss a few lines.  This will resolve over time for sure. The full frontal nudity may turn a few people off (certainly not me in any way) - I don't know what the script requires vs what the director interprets.  I was mostly surprised that I really wasn't going to experience a direct "Six Degrees of Separation" - like a trail of person 1 connected to person 2 connected to person 3 etc.... but more the general concept about strangers and how they can be inter-twined in our lives and connected to our friends and we don't even know it- or them - sometimes until it's too late - or sometimes we never really know what happens at all.  I was struck that the central lines of the play fit the concept but not exactly what was happening on the stage.  I guess I am a very linear thinker.

"I read somewhere that everybody on this planet is separated by only six other people. Six degrees of separation. Between us and everybody else on this planet. The president of the United States. A gondolier in Venice. fill in the names. I find that A) tremendously comforting that we're so close and B) like Chinese water torture that we're so close. Because you have to find the right six people to make the connection. It's not just big names. It's anyone. A native in a rain forest. A Tierra del Fuegan. An Eskimo. I am bound to everyone on this planet by a trail of six people. It's a profound thought. How Paul found us. How to find the man whose son he pretends to be. Or perhaps is his son, although I doubt it. How every person is a new door, opening up into other worlds. Six degrees of separation between me and everyone else on this planet. But to find the right six people...

Cloud Nine

Having seen one of Caryl Churchill's other plays (Top Girls), I was prepared for the jolt of anachronism, intentional gender bending casting, and other theatrical devices.  Ms. Caryl does it well.  Her choices serve to facilitate and highlight her messages.

In the case of Cloud Nine, she casts a white man as a black slave, a man as a Victorian wife, an adult as a child, and young boy as a woman (and vice versa).   Further add the fact that Act I occurs in Victorian times during British colonization of Africa and Act II occurs in 1979 London - with the catch that only 25 years have passed for the characters - who themselves have been "re-cast" as other characters.  This may seem like quite a lot to keep track of, but the effect is subtle, the impact quite large as you begin to see the larger message Ms. Caryl is trying to convey.   What she is effectively doing is showing how the male dominated society and dominant and oppressive nations in the Victorian era (The Brits dominated and conquered the natives in Africa) draw a parallel to the modern society where the gay culture is experiencing the very same treatment - it's a different cultural construct, but the same effective oppression.  At the same time we see the importance and oppression of the female characters both literally and figuratively in Act I by the casting of a man as the Victorian wife.

The actors in this wildly fluid comedy execute Ms. Caryl's message with aplomb.  First and foremost we have the adorable and ethereal Chris Perfetti  is the face of the gender fluidity playing Betty the Victorian Wife in Act I and Edward a softer gay man in Act I.   Sean Dugan takes on the racial fluidity in Act I as Joshua the slave/servant and the dominant gay predator Gerry in Act II like it was a role of a lifetime made just for this handsome and confident ginger.  Izzie Steele takes on double duty in Act I (extra kudos here for all those costume changes) as a rag-tag shy and naive nanny and the powerful (which is unusual for the period) female Mrs. Saunders. In Act II she is a powerful and confident lesbian.  Clarke Thorell is the ultimate patriarch and family leader Clive in Act I and the naughty, loud child Cathy in Act II.  Brook Bloom has the other gender bending role playing young Edward in Act I and older Betty in Act II.  Lucy Owen plays a staunch and comically dry Maud the mother of Betty in Act I and the young Victoria (who as a side note was played by a doll in act I) toying with her lesbian side in Act II.  John Saunders is the suave single explorer Mr. Harry Begley who just might be gay before it was en-vogue to be gay and then plays the suave yet diminished husband Martin who's masculinity is on the decline in the era where women are on the rise.

If you're confused, don't be.  When you watch the action unfold, the character changes start to resonate, the messages start to decode and you will begin to delve into the issues that Ms. Churchill was trying to convey.  As billed, it is a play about power, politics, family, queen Victoria, and sex.  If perhaps Act I was a tad bit too long with a bit of unnecessary exposition and story, Act II was perfectly timed, executed and impactful.  Without a doubt, there was one element of this production that was universally panned by the audience - and that was the seating.   While the idea of placing this show in the round in somewhat of a "boxing ring" where the actors "duke it out" is brilliant - the construction of the flimsy, uncomfortable, and frankly cheap looking wooden bleachers was only made more painful by the 2H:40M run time.  #seatingepicfail 

Despite the extremely uncomfortable and frankly unsafe seating arrangements that were constructed  for this production, the outcome was nothing short of remarkable.  A fine cast and a provocative message makes for an exhilarating evening in the theatre.

Sons of the Prophet

Stephen Karam got his start in the deep dark chambers of the Roundabout Underground at the Laura Pels Theatre at the Harold and Miriam Steinberg Center for Theatre (i love saying that mouthful) on West 46th Street a few seasons ago with Speech & Debate.  Well reviewed and well received see my own prior review here, the staff at the Roundabout have promoted him one floor up to the main stage with his latest work, Sons of the Prophet.  Quite a nice promotion for the young and talented playwright.

If you're going to a play for action, adventure, non-stop laughter, or any other sensory overload experience - this is not the play for you.   This play, simply put, is a matter-of-fact, slice-of-life, take-it-for-what it's-worth, darkly funny, but intensely serious play that is only magnified by the fine actors of all ages presenting it on the stage.

Taking the helm is one to today's extremely handsome, adaptable and charismatic actors, Santino Fontana, as Joseph (last seen at the roundabout as Earnest in The Importance of Bring Earnest).  Joanna Gleason takes on some of the comic relief in her hysterically funny and ironically honest portrayal of Joseph's boss, Gloria.  Supporting Mr. Fontana quite aptly are the adorable Chris Perfetti (Charles, his brother), an incredibly hunky Charles Socarides (Timothy, a reporter), Yusef Bulos (Bill, his uncle) Jonathan Louis Dent (Vin, the local football star) and Lizbeth MacKay and Dee Nelson (both playing multiple and ocassionally hysterical ensemble characters).

The circumstances of the play are as follows:  Lebanese father of two gay sons (what are the chances?) killed in car crash caused by teenage prank executed by one local black (mulatto) football star.  Controversy ensues when boy sentenced to juvenile detention after championship football game.  Family and community torn over this decision.  Boys turn to family, faith and friends to help soothe, sort out, and understand what's best for all concerned.  Throw in a dash of timely health-care issues (Joseph has to take a job Gloria to get health benefits for his ailments) and a few social, religious and political barbs and you've got a cauldron that simmers evenly and emits a delicious aroma that permeates the theatre entire show.

No flying spiders.  No trampolines.  No flying monkeys.  Just a great night of stage acting and theatre that leaves you with a few things to think about on the way out.  Bravo Mr. Karam and to the entire cast.