Indecent

There's something playing over at the Vineyard Theatre that is nothing short of spectacular.  Paula Vogel has penned a superb play-within-a -play based on a true story of a Yiddish theatre troupe in the early 20th century.

Well written and crisply acted, this theatre troupe acting as a theatre troupe packs a powerful punch.  Not overly Yiddish (as most of us would not understand), but the show employs a clever theatrical device to indicate when they are speaking in English and when they are supposed to be speaking in English.  When they are supposed to be speaking Yiddish, they speak in clear, fluid English (and there are Hebrew sub-titles).  When they are supposed to be speaking English they put on a thick accent.  Director Rebecca Taichman has cleverly and seamlessly nested this play-within-a-play.  To denote the passage of time (to speed things along) a subtitle occasionally pops up and the actors freeze momentarily ("In A Blink of Time" the subtitle reads).  The lighting and most costumes are dark and grey - similar to the time and the feeling.  Except for an occasional white nightgown, of course.

The play-within-a-play focuses on a European Jew who wrote a play that shocked and entertained the high culture all around Europe.  When the play came to the USA, it played well downtown (read Avant Garde) theatre scene but when it came to Broadway, the American sensibilities (even in the Jewish community) were outraged.  They play was shut down and the cast and creatives arrested for indecency.  The play focuses alternatively on the struggle of the playwright and the struggle of the actors.

What on earth could be so scandalous?  Two girls kissing.  Two Jewish girls kissing.  Written by a Jew.  Acted by Jews.  Outraged and already sensitive to being perceived as not fitting in around the world at this time - many love it - many shunned the idea of it.

These circumstances are all wrapped up in Ms. Vogel's play which keeps you riveted and holds your attention throughout the entire production.  As you would expect, it doesn't end well for this theatre troupe - ending up in the wrong city at the wrong time.  The playwright who subsequently moved to America has his own demons and you'll just have to run down to the Vineyard to see how this is all plays out.  It's worth the trip.

Act One

Let me state right off the bat - I'm no theatrical historian.  I know very little about Mr. Moss Hart except what I've seen of some of his work.  (For more info on Mr. Hart, start here).  For knowing very little, my experience in the theatre this fine weekend afternoon was one of storytelling at its finest.  Two superb actors and a company of over 20 graced the thrust and rotating stage at Lincoln Center's Vivian Beaumont Theatre to regale the audience with a heartwarming and thoroughly entertaining story.

Mr Hart's autobiography by the same name, Act One, is apparently very closely followed in the stage version which was written and directed by James Lapine.  If I had anything at all negative to say (and others have too) is that at almost 3 hours, it's a tad bit too long. For a story partially about Mr. Hart co-developing his first play, Once in a Lifetime, a play that ultimately toys with nixing a 3rd act, ironically this one runs practically as long as a 3 act play.  In my background reading both in the playbill itself and on-line - it seems that Mr. Hart himself may not have been entirely pleased with this fact too.  But I digress...

Tony Shalhoub and Santino Fontana both play Moss Hart - Santino, the younger; Tony, the older.  Both break the 4th wall regularly to narrate and explain the story or set the scene further.  The technique of storytelling from Mr. Hart's youth to the ultimate production of his first play makes for quite a lot of ground to cover. Mr. Shalhoub and Mr. Fontana work tirelessly - some of it literally on Mr. Shalhoub's part just to change characters as he also plays Mr. Hart's insufferable father and playwright George S. Kaufman too.  Andrea Martin does triple duty as Moss' Aunt Kate who first inspired him to pursue the theatre, Freida Fishbein a theatre professional, and Beatrice Kaufman, wife of George.  It's a treat that she was not wasted and we got to enjoy her comedic genius from start to finish.  The entire ensemble, including his family, his chums, theatre producers, actors, maids, audience members, and others turns in thoroughly synchronized and spot-on supporting ensemble roles.

The set was fantastically impressive - literally a carousel built on the Viv's turntable, constantly rotating to change scenes as the actors briskly navigated the pathways and staircases.

Messers Shalhoub and Fontana are the heart and soul (pardon the pun) of this entertaining show.  It's a tale of rags to riches told in the most tender and endearing way without being cliche or overbearing.  I sure hope they, if not Ms. Martin too, are recognized at the Tony Nominations this year.

It would be a coup for a show about a man who wrote and directed award winning shows to win an award itself.

Distracted

Brooklyn Boy