The Battle of Central Park

Playwright Andrew Massey stumbled onto Robert Moses in a car ride in the Bronx.  He stumbled on Joseph Papp in his college drama class.  I bet he never thought he would write a play about these two powerful men, each in their own worlds - which collided in a grand battle for the Arts smack in the middle of Central Park.

This bio-play is really a story told and re-told through letters, newspaper articles, and memories.  The very clever point which could have been made even more dramatic in the play is that these two gentleman, despite their massive battles never actually met.  Mr. Massey opens the play with a scene that once repeated at the finale, hits that point home.  Through the use of projections, slides, and historical photos, the ensemble, who are part narrators and part choreographed movement, weave a tale of two powerful men - often at odds with each other.  Kudos Jamie Watkins and Michael Monacan (Projections) and Annalisa Ledson (Choreographer).

Jon Huggins (Robert Moses) has an impressive stage presence and is a commanding actor.  (He's also incredibly tall).  His booming voice and larger than life attitude brought the needed arrogance and power to life in Mr. Moses.  

Nick Trotta (Joseph Papp) made you feel the conviction of his beliefs, the frustration with the government inquiries to his private life, as well as his life long commitment to and love of the arts.  Both actors held court in this 60+ minute historically relevant and culturally interesting piece.

Both deserved their own bow after the initial company at the curtain call.  That's just how good they were.

I could really see this play being expanded slightly (maybe 90 minutes) and brought onto an off-Broadway stage for a slightly more robust performance with more projections/slides and a moderately expanded story filling in some of the gaps.  Not having given much thought until this moment, I could even imagine two stars teaming up to bring the show to a Broadway stage.  Danny DeVito as Papp?  Tony Goldwyn or Jeff Daniels or Kevin Spacey as Moses?   Stranger things have happened.

Invisible Thread

Just beginning its run at Second Stage Theatre for the kick off of the 2015-2016 season, Invisible Thread (f.k.a. Witness Uganda) is already blowing the roof off the joint.   Shepherded here from A.R.T at Harvard by a top notch creative team - Diane Paulus (Director) and Sergio Trujillo (Choreographer) - this power-packed show was penned by the power-couple Griffin Matthews and Matt Gould.  In fact, Mr. Matthews does double duty as the show's driven leading man too (Griffin).

The adorably sexy Corey Mach (Ryan) plays opposite Mr. Matthews as his devoted and supportive boyfriend and partner in life.  With an all-black cast the show's focus is the struggles of the kids they meet in Uganda, the Ugandan culture and community, and the struggle to continually support them.   Music and lyrics by Mr. Matthew's real partner in life, Mr. Gould, feature gospel-like numbers, ballads, and rousing, energetic and theatrically staged African dance numbers.  And the band, conducted by Mr. Gould - well - they are part of the reason for the aforementioned roof blow-off.  Violin, Viola, Cello, Bass, Guitars, Keyboards, and more percussion than you thought possible - all elevated above the stage in the former wings of the stage - which, of course, were eliminated to enlarge the performance space. Kudos Jonathan Deans (Sound), Justin Townsend (Lighting), and ESosa (Costumes).

One has to wonder if with such a high-caliber creative team behind this show that there is a desire to transfer a unique, emotional, and high energy musical to the Broadway.  I have mixed feelings about it and not sure it would work - - but it might just.  It has the unique factor.  Tugs on your heart strings, music, dance, colorful costumes.... blink and it fits right in.  A modern boy-loves-boy who needs to find his roots and reason for being who can't let go of what he found.

Get your tickets now as this one is going to be a hot seller into the holiday season.  

Farragut North

Where did Beau Willimon get his inspiration and "inside info" when writing this play?  I learned after I returned home from the theatre from Roma Tore's NY1 Review that Mr. Willimon worked on the Howard Dean Presidential campaign.  The entire work now makes even more sense.

We've certainly been inundated for the past 18 months with political campaign foder.  Sadly it almost seems an empty day if we are not bombarded with some scandal, accusation, some grist from the proverbial political mill.  

Nor does it go unnoticed by this viewer that this show cleverly didn't run much past election day at the Atlantic Theatre.   We've really had enough.   But it's never quite enough until Broadway has taken it's shots too.   And what a bulls-eye this one turns out to be.  Now - this is not the dream cast (Leo DiCapprio and George Clooney) rumored last year to be doing a Broadway-bound version - but it's damn good nonetheless.   John Gallagher Jr. (Spring Awakening, Rabbit Hole) takes on the role of Stephen, the young, ambitious, cocky, rising star in the political campaign communications world (of course he's damn sexy doing it too).   Chris Noth (Sex and the City, Law and Order) tackles the role of Paul, the elder, more experienced and seasoned campaign advisor.  

The dialogue is sharp.  Kudos to director, Doug Hughes.  The humor, well placed and the acerbic and emotionally charged dialogue well delivered.  The plot, twisted and entirely (unfortunately) believable as one would expect.  The "gun" in act one gets used as one might expect.  No spoilers here.  

Possibly the most disappointing aspect of this show is the unfortunate familiarity with the subject matter that the audience brings to its seats.  Shock? Not a chance.  But I'm virtually positive that is not what the production was shooting for.  Cynicism, more likely. 

Strangely enough, at the end of the show, the "next generation" gets his first shot in front of the press and cameras (flash-flash-flash).  He reads a brief statement then looks up, as if to say "that was the script - now I'm going to tell you what it's really all about".  He looks us straight in the eye with that sincere, "we're going to change the world" face and tells the press (that's us) that the "people" is what the campaign is all about - it's the reason the candidate is running and that he will lead us into a new era.  The audience applauded exuberantly.  Hmmm... Fade to black.

Rent

http://en.wikipedia.org/wiki/Rent_(musical)