What I Did Last Summer

A.R. Gurney's new work over at the Pershing Square Signature Center is a hidden gem amongst the pile of off-Broadway plays out there. From it's construction to its unique music and rhythm to its cast - this show shines as bright as the north star in the evening sky.  Jim Simpson's fine direction appears delicate and purposeful without being overly obvious and heavy.

First off, it's not "I know what you did last summer".  That is whole other genre and ball of wax.  This show is a family drama and is touching, tender, and uplifting.  It rings true and honestly portrays a family struggle at the tail end of WWII.  No punches pulled.  No fancy stage tricks, but plenty of innovative and unique theatrical presentation techniques - most prominently - the typewriter projection on the back wall and the percussion rhythms and sounds quietly but effectively matching the rhythm of speech and motion.

Most certainly the divine Kristine Nielsen takes the show instantly to a higher level.  She is a consummate character actress and fits the bill perfectly for Anna Trumbull (a.k.a. The Pig Lady).  Carolyn McCormick (known for her recurring role of Dr. Olivet in Law & Order) was the perfectly flawed and loving mother, Grace.  Despite his tender age, the lead character, Charlie, the confused, energetic, every-day kid, was played with wild abandon and tremendous heart by the young and talented Noah Galvin (last seen in The Burnt Part Boys).

The entire play is enjoyable but when it wraps up - actually the very last line - you will leave the theater with a heart slightly warmer and full than when you entered.

Love and Information

This play is very unique and another thoroughly enjoyable installment of the New York Theatre Workshop.  Actually, less of a play more a series of thematic vignettes - long and short.  Broken down into 8 chapters, Caryl Churchill imbues each chapter with a theme that is then explored in several usually quick slices of life she presents.  Funny, sad, poignant, smart, coy, cunning, deceptive - you name it - she's got it.

The cast of 15 is usually, but not exclusively, paired in twos and is always introduced by a sound effect that relates to the scene.  Part of the formula for success is the bare white stage box and lighting effect at the scene changes that completely blacks out the view.  Very binary, very data-oriented, very sparse.  It focuses you on the topic of the scene.  There's a fair amount of thinking or processing that has to go on - that is - if you are trying to decode each scene and chapter.

By the time chapter 4 came along I started to figure out a pattern.  I just wish they would have displayed that theme when they flashed the chapter number up on the scrim.  It really would have made a quicker and stronger association to the content as it unfolded.  They could have at least printed it in the Playbill so we could have all reflected upon it afterwards.  And believe me, this one generated a lot of conversation afterwards.

With 57 individual vignettes over 2 hours, there was quite a bit to recall fondly.

The Burnt Part Boys

What a thrill to see a new show that really blows you away.  This is a joint production between Playwrights Horizons and The Vineyard Theatre.  It's been in development for about a year on various stages and this stop on 42nd Street is a true winner.

Pete (Al Calderone) runs away with his best buddy Dusty (Noah Galvin) to try and preserve the memory of his father who was killed in a mine explosion (hence the title, the Burnt Part... of the mine).  Chet his older brother (Andrew Durand) and his best buddy Jake (Charlie Brady) chase after them.  The story is a powerful ode to family and memory, growing up, chasing a dream, and a fight to "get out" vs the need to "stay".   The power behind this show is the music - one strong ballad after another and a cast that can fill the theatre from the front row to the very last.  Kudos to the entire creative team - Mariana Elder (book), Chris Miller (music), and Nathan Tysen (lyrics)  The creative direction (Joe Calarco) and use of the stage, ramps, and aisles during the performance drew you in even closer to the story.

Run, Don't Walk.  This one has Broadway transfer potential.