This Day Forward

Upon a bit of reflection this was not the Nicky Silver play I expected.  However, that is not to say that I didn't enjoy it or it wasn't good.  I think Mr. Silver tried some new things here.  At it's core it is him - a broken, very broken, family.  However, I think he tried something new with Act I which may or may not have been successful.  Certainly Act 2 was a Nicky Silver play indeed.

In Act 1 we meet Irene and Martin - two young newlyweds in 1958.  I think this is where Mr. Silver's signature style clashed with the time.  Nicky Silver writes plays for today - not yesterday and his style has to be modified to exist in the past.  His characters had to be too much farce and not enough meat.  They have to be like caricatures to exist.  The devilishly handsomely and hunky young Andrew Burnap (Donald the bellhop) was too mean, too quick to explode, and too much a cartoon.  Michael Crane (Martin) and Holley Fein (young Irene) were too stilted and seemed to cover the same dialogue ground over and over - we got the point the first time.  Joe Tippett, the other blue eyed dreamboat (Emil) was a bit too exaggerated - I guess so that you got the point that he was different from Martin.  It wasn't as believable as it could have been,  June Gable (Melka/older Irene) was by far the best actress on the stage.  With a funny schtick in Act I and a serious and still amusing and convincing part in Act II.

Structurally, Mr. Silver has a great idea - 1958 and fast forward to 2004 two generations living the consequence of what we saw in Act 1.  He cleverly disguised the "here's what happened since" in all the dialogue and conversations.  Francesca Faridany (Shella) is spot on as the neurotic, pill popping, exasperated daughter in Act II.

Mr. Burnap and Mr Crane are now a couple (Mr. Burnap is even more dreamy).  Ms Gable takes the role of older Irene and Mr. Tippett and Ms. Fain make a cameo appearance at the end.  Act II is by far the more biting, acerbic, and serious of the two acts and judging from the audience reaction - the more successful and satisfying of the two as well.

The sets, which are usually not a Vineyard hallmark, were absolutely fantastic in both acts - Kudos Allen Moyer.  I happened to see the play on its first preview - which I only learned after it was over - and commented to myself that I would never have guessed - performances were already spiffy.  They have some things to work on of course but nothing to dash my full throated endorsement of yet another gem playing over at the Vineyard Theatre on West 15th.

Bloody Bloody Andrew Jackson

Entertained?  I sure as f*#k was.  Witness to history?  In a way, sort of.  Top notch theatre?  No, not really.  What does this all mean?   Spend the $60 for a ticket and get an irreverent, funny, musical history of the life of our 7th president - Andrew Jackson.  

I don't see this as a Broadway transfer (but crazier things have certainly happened).  Appropriate for the Public Theatre this musical romp was well worth the 90 minutes in the elaborately shabby Newman theatre at the Public.  

From his first words (and first sight - *sigh*) Benjamin Walker (Andrew Jackson) is HOT (dripping with sex, one might say) .  The ensemble cast surrounding him never failed to entertain.  More than a few times - over the top - but I guess that's what I signed up for.  My favorites included Lucas Near-Verbrugghe (Van Buren) and Jeff Hiller (Adams)  - who both almost made me pee in my pants a few times.  Everyone is young.  Everyone is sexy.  It's loud. That's what they are going for.

Spring Awakening meets American Idiot meets Saturday Night Live - - that's my vote and I'm sticking to it.

Doris to Darlene - A Cautionary Valentine

Jordan Harrison is cute - and by the way - he has written a gem which is now playing at Playwrights Horizons . Doris to Darlene, a cautionary valentine is delightful. It requires little advance explanation except to say that Jordan has penned a tale in which music, art and love transcends 3 different eras.

It's told to you like a story - often in the 3rd person - from the perspective of 3 seemingly very different young boys and girls. Wagner and King Ludwig II (the 1800's) , Doris (Darlene) and Vic Watts (1960's) and Mr. Campani and "Young Man" in classroom (current).

What on earth could these people have in common? You guessed it - Music! Each story for it's own era has a different twist but music and love and art permeate each. Young King Ludwig II (Laura Heisler) funded the older Wagner's (David Chandler) musical endeavors (Operas) and was deeply affected and influenced by the deep emotions and splendor he created. Doris, or Darlene as she became, ( de'Adre Aziza) was a creation of Vic Watts (Michael Crane) a "Phil Spector like" music exec in the 1960's. In this story we see a glimpse into the all too familiar story of a young black girl brought to overnight fame by a high flying music exec who fell in love with his client (or was it her music?). Lastly, we witness a young, gay high school boy coming of age (Tobias Segal) who becomes infatuated with his music teacher - a complex older gay gentleman with his own set of issues and desires (Tom Nelis).

Two acts - one hour each. Act I could probably be a bit shorter and crisper - which would make Act II even better. By far Act II is where the story unfolds and the dots are connected on the brilliantly designed ever circulating set (just like a spinning record) among the 3 stories.

Get out your running shoes out. This gem is not to be missed!