The Submission

Jeff Talbott's new work, The Submission, is a tinder-box of race and prejudice packed into about 100 power-packed, tension-filled minutes.  Walter Bobbie's keen directorial ear lights the match which burns the volatile fuel provided by Jonathan Groff (Danny), Will Rogers (Trevor), Eddie Kay Thomas (Pete), and Rutina Wesley (Emily).

While Mr. Groff may be the headliner and main character (and still, by the way, absolutely adorable) in the Talbott's tumultuous plot, all 4 actors handily contribute to the heat and tension on the stage equally.   Crisp, staccato dialogue, rapid and ascorbic banter, and quick and uncomplicated scene changes contribute to the evening's experience.  Having seen this one at the very beginning of it's preview period, I can say with certainty that it is an extremely all written play and well acted production that can only get even better with age.  Mr. Bobbie in conjunction with Tesley + Company (Casting) are to be applauded for this fine ensemble.  The selection of each actor for his and her respective part is superb - each embodying what i presume is exactly what Mr Talbott envisioned.

No spoilers here.  Just know it will be a provocative evening of theatre that you will most likely carry out of the theatre with you into the streets afterwards.

Prayer for My Enemy

Playwright Craig Lucas packs a whole lot of punch into the 1 hour and 40 minute (no intermission) off-Broadway debut of his new work, Prayer for My Enemy.  One might say  - "the kitchen sink" is even in there.   The Noone's have a plethora of problems and complications in their lives - alcoholism, an autistic child, bi-polar disorder, divorce, mild poverty, a gay (or maybe not) son, the Iraq war, and the list of personality "adjustments" that the entire family makes to accommodate all these things.   

Skipp Sudduth blurts out with certitude exactly what he thinks and feels  - about his son, the Iraq war, the failings of his life, and so much more - he's the alcoholic one - a 12 step success for 6 years now - despite his bi-polar disorder and his extreme interest in reptiles and mammal documentaries on TV.  Michele Pawk walks on eggshells trying to hold the family together - always acquiescing, pleasing, pointing out the silver linings - all the while crumbling and tormented inside about her son - Jonathan Groff - the one who's maybe gay - self admittedly effeminate, but he LOVES WOMEN.  He points this out to his childhood friend Tad (Zachary Booth) and the audience early on as the play alternates between dialogue and what Lucas calls "the psychic interior" - all the characters telling the audience what they are thinking but not saying along the way - or are they really saying it?  

But what does Victoria Clark  - an acerbically  bitter woman from Manhattan who loves to escape to the country and is now visiting her dying mother in the hospital - have to do with any of this?  Well, no spoilers here - we'll just say - "loaded gun".

There's a whole lot going on with this family - but I think part of the message Mr. Lucas is trying to pass on is "who's life isn't complicated these days"?

Hair: The American Tribal Love Rock Musical

The 40th anniversary of the Public Theatre presentation of Hair could not have been more appropriately staged than it was this summer at the Delacorte Theatre in Central Park.  The outdoor venue, the trees, the lights, and most of all the actors playing out a script over 40 years old that is as relevant today as it was 40 years ago.    Hair, The American Tribal Love Rock Musical was around long before AIDS, Bosnia, Global Terrorism and Facebook.    Yet somehow, this piece stands out as iconically in our national culture; a generation's emotions played out on stage.  Times certainly to change - - or do they?  Somehow we find ourselves in a similar situation today.  Different people, different countries, different economics and social norms - yet just about every song rings just as true today as it did in 1968 when Galt MacDermot wrote the music and Gerome Ragni and James Rado wrote the book.

On "stage" (mostly dirt and grass) this time is a talented tribe of modern day activists - Headliner Jonathan Groff (In My Life, Spring Awakening) is uber adorable and even more talented at the tender age of 23 as Claude.  He provides just enough fresh and innocent pared up along side his free spirited, hippie tribal peacemaker and protester.   Will Swenson (110 in the Shade) sinks his substantial chops (and gorgeous, well maintained body) into the tribal leader, Berger.  Patina Rena Miller, as Dionne, would have blown the roof off the theater if 

there was one in the opening number, Aquarius.

As a matter of fact, the entire tribe was filled with talent.  And as hard as i looked, i could not find one person who didn't look like they were having fun each and every minute of the performance. Liking your job is important is many industries.  No exception here.  

Tickets for this show can be obtained in two ways - you can donate $165 (or more) to the Public Theatre.  In return for that, they provide you with a ticket in advance to the show.  If you would like to get a free one - everyone queues up at 1pm in hopes of being one of the lucky 1200 to get one for that night's performance.  Most

 do.

On top of all this good stuff, you get to watch the show outside, in central park.  What more could you ask?  Run... don't walk... and get a ticket to the Be-In that's lasted over 40 years!

Spring Awakening

Brace yourselves - This one is gonna be a hit! Broadway finally has a new, edgy Rock n' Roll musical that will stick. Grammy award winning Duncan Sheik wrote all the music - a fact that many a theater-goer might even pick up on even without reading the Playbill. And let's not forget this story must have been a true shocker when written in 1891 by Frank Wedekind who is considered one of the founders of modern drama and a real pioneer of the concept of expressionism in the theatre.

The musical today so cleverly juxtaposes the Wedekind dialogue of teenage coming of age in the 1890's with Sheik's biting and angst filled Rock n' Roll lyrics. The resulting message is clear and ageless - kids through all ages have the same problems - - suicide, abuse, growing up gay, sex, abortion, not fitting in, and of course, parental influence. All that really changes is the calendar and the costume.

The actors in this production have a deep connection to the subject matter. Most all of them are actually between 16 and 21 and have grown up with this production over the past 6 years as it made its way to Broadway from the Atlantic Theater Company off-Broadway. The talent is raw, true, and natural. It's not a bunch of 30 year old actors on stage pretending to be kids. It makes all the difference. You feel for these kids and connect with their emotions.

For many of the actors, this is their Broadway debut. While there is a true lead actor and actress (Jonathan Groff as Melchoir and Lea Michele as Wendla) - it's the ensemble that makes this one pop! We get to see the boys belt out their talents right from the beginning in "The Bitch of Living" and the entire ensemble rock the house in "Totally Fucked". It would really be a treat to see John Gallagher, Jr. (Moritz) walk up on stage next July at Radio City Music Hall to collect his Tony for Best Supporting Actor in a Musical.

With an "open" stage and steps down to the first row in the audience the actors seem to flow right into your world on several occasions. There's also 4 rows of bleacher style seating on stage on each side. Be prepared if you sit there. The cast sits among you when they are not performing; they burst into song and jump to their feet and stand on the chairs when you least expect your neighbor to be doing so! The Band is also placed upstage and in a rare move joins the cast and takes a formal bow with the cast - emphasizing their importance to the show's delivery. Each of them also has an individual mention in the playbill. Just as the show is about juxtaposition - so must the lighting be. Kevin Adams, lighting designer, takes the stage from monologue to dialogue to solo and melancholy ballads to foot stomping rock and roll and back all over again flawlessly.

These kids earned the standing ovation they got... and then some! Run, don't walk.