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.

The Visit

Another opening.... another show.... and this one is another chosen investment.  No matter what they say, I could not be prouder of this production.  Here's what all the real critics are saying...

NEW YORK TIMES

http://www.nytimes.com/2015/04/24/theater/review-chita-rivera-stars-in-kander-and-ebbs-the-visit.html?_r=1

 

NEW YORK POST

http://nypost.com/2015/04/23/chita-rivera-gets-her-diva-broadway-return-in-the-visit/

DAILY NEWS

http://www.nydailynews.com/entertainment/theater-arts/visit-review-chita-rivera-kander-ebb-musical-article-1.2194813

WALL STREET JOURNAL

http://www.wsj.com/articles/the-visit-review-as-long-as-the-lady-is-paying-1429835402

 

NEW YORK MAGAZINE/VULTURE

http://www.vulture.com/2015/04/theater-reviews-the-visit.html

TIME OUT NEW YORK

http://www.timeout.com/newyork/theater/the-visit-1

ASSOCIATED PRESS

http://abcnews.go.com/Entertainment/wireStory/review-visit-broadway-chillingly-good-30544373

VARIETY

http://variety.com/2015/legit/reviews/visit-review-broadway-chita-rivera-1201478480/

THE HOLLYWOOD REPORTER

http://www.hollywoodreporter.com/review/chita-rivera-visit-theater-review-791063

USA TODAY http://www.usatoday.com/story/life/theater/2015/04/23/the-visit-broadway-review/26182573/

AM NEW YORK

http://www.amny.com/entertainment/the-visit-theater-review-2-5-stars-1.10323585

HUFFINGTON POST

http://www.huffingtonpost.com/steven-suskin/aisle-view-the-final-visi_b_7132538.html

CHICAGO TRIBUNE

http://www.chicagotribune.com/entertainment/theater/broadway/sc-the-visit-broadway-review-20150423-column.html

NBC NEW YORK

http://www.nbcnewyork.com/entertainment/the-scene/Chita-Rivera-The-Visit-Review-300828061.html

NEWSDAY

http://www.newsday.com/entertainment/theater/the-visit-review-chita-rivera-in-a-stunning-show-1.10314774

STAR-LEDGER

http://www.nj.com/entertainment/index.ssf/2015/04/chita_rivera_stars_in_the_new_kander_and_ebb_music.html

DEADLINE

http://deadline.com/2015/04/the-visit-airline-highway-broadway-review-1201414889/

THE WRAP

http://www.thewrap.com/the-visit-theater-review-chita-rivera-and-roger-rees-perform-a-gripping-dance-of-death/

THE BROADWAY BLOG

http://thebroadwayblog.com/2015/04/23/12317-review-the-visit

THEATERMANIA
http://www.theatermania.com/broadway/reviews/the-visit-broadway-review_72653.html?cid=homepage_news

 

BROADWAYWORLD

http://www.broadwayworld.com/article/Review-Roundup-THE-VISIT-Opens-on-Broadway-Updating-LIVE-20150423

CURTAIN UP

http://www.curtainup.com/visitbway15.html

DC METRO ARTS

http://dcmetrotheaterarts.com/2015/04/23/the-visit-at-the-lyceum-in-new-york-city/

DC THEATER SCENE

http://dctheatrescene.com/2015/04/23/the-visit-broadway-review-chita-rivera-in-kander-and-ebbs-grotesque-parable-of-revenge/

CITITOURS

http://cititour.com/NYC_Broadway/The-Visit/634

Enron

It may have been a smashing success in London, but here in New York, a bit "closer to home" as they say, it probably won't fare as well.  The Brits probably enjoy laughing at our moments of weakness just a bit more than we do.  A monumental undertaking by playwright Lucy Prebble, Enron attempts (and quite frankly succeeds) at telling the story of Jeffrey Skilling and his downfall at the Company we all know as Enron.

As the play unfolded, she (and the actors) all did a remarkable job at keeping in "interesting".  Lighting, music, dance numbers, and sophisticated digital looking sets all contributed to the "wall street" atmosphere.  Norbert Leo Butz nailed Skilling.  Gregory Itzin and Stephen Kunken as Kenneth Lay and Andy Fastow both turned in remarkable performances.  Marin Mazzie was superb as one of the few fictional (or more correctly stated, composite) characters.

The trouble is - they wove a complex tale.  There was no hero to route for.  While your senses were being bombarded with business terms, facts, figures, and jargon - the story simply lacked anyone or anything redeeming in the end.  My personal feeling is that they could have "created" (i.e. taken literary license) a "whistle blower" (which, in reality would not have been that difficult as the real story had the makings of one anyway).

Overall - I (an accountant by trade) loved it, understood it, and appreciated what they had to say.  I am guessing that as brilliant as the storytelling efforts were, most people walked out of the theatre confused or angry at a time when the economy is once again in the toilet - hence resurfacing old thoughts of anger, resentment, and ill will towards corporate America in general.  At a minimum, some might wonder if Ben Brantley's mutual funds took a nose-dive the day before he reviewed 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!