Storefront Chruch

John Patrick Shanley's new work is a powder-keg.  The third and final work in his trilogy that started with Doubt, continued with Defiance, now ends with Storefront Church.  (One wonders why, given the plot, it is not named Debt).  Staged at the Atlantic Theatre Company's Linda Gross Theatre, a former church, itself, the play explores the ethics and power behind and between religion and politics and their, some would say, dangerous, others would say, rewarding intersection.

Sharp, intelligent dialogue.  Powerful performances.  Thought provoking and relevant plot.  These words don't even do the work justice.  You'll take a side.  It doesn't matter which one, but you'll take a side.

Bob Dishy is deliciously funny as Ethan Goldklang.  Giancarlo Esposito helms the tense production with aplomb as Bronx borough president, Donaldo Calderon.  Zach Grenier is pitch-perfect in his portrayal of fallen banker, Reed Van Druyten.  Ron Cephas Jones takes on the stoic, angry, and conflicted reverend, Chester Kimmich.  Jordan Lage plays the role of bank CEO Tom Raidenberg with aplomb.

I had high hopes for Tonya Pinkins in this production and they were dashed.  Specifically I was quite annoyed at Mr. Shanley's choice to have her speak with a Puerto Rican accent.  She was terrible at that and it would have been very simple to have her speak like an old black woman instead  - after all - she is black and we know she can do it from her award winning performance in Caroline or Change.  That alone could have turned her performance from disappointing and mediocre to pivotal and powerful and it would not have affected the plot in any significant way.

Will this one transfer to Broadway?  Doubt certainly did.  Defiance did not (and probably didn't deserve it).  Change the name to Debt (it's catchier), throw out a few elongated scene changes, and maybe skip the music, and you may just have Broadway's next hit.  After all, off-Broadway is the new Broadway testing ground these days.

Man and Boy

Ironic that just two days ago I saw a another off-Broadway play in which a wealthy wall-street type was driven to self-destruction.  The plot was certainly a different time and place but essentially a similar tale.  Man and Boy is one of playwright, Terence Rattigan's, early successes in the 1960's and rings as true, if not more-so, today.

Taking the helm at the American Airlines Theatre in the Roundabout Theater Company's revival is the consummate, Tony award winning actor, Frank Langella (Gregor Antonescu - i.e. "man").  Adeptly supporting him is the always dashing and polished Adam Driver (Basil Anthony - i.e. "boy").   Supporting ensemble cast members include Michael Siberry (Sven Johnson), Virginia Kull (Carol Penn), Zach Grenier (Mark Herries), Brian Hutchinson (David Beeston), and Francesca Faridany (Countess Antonescu).

The plot follows an approximately continuous 2 hour timeline in the Autumn of 1934 in the basement apartment in Greenwich Village of Basil Anthony, whom we quickly come to learn is the estranged son of international financier and power broker Greor Antonescu .  We quickly come to learn why Basil has fled his family 5 years ago and through a series of cold and calculated maneuvers, why his brilliant and domineering father may just be the world's most callus and wanted financial crook the world has ever seen.

Mr. Langella commands the stage with every breath and step.  Mr. Driver embodies the ethos of a 1930's young American socialist while at the same time cannot make the emotional break from his dirty dealing father.  The entire cast brilliantly supports the two leads.  Of special note is the comedic relief provided by the accountant, David Beetson (Mr. Hutchinson) and the steadfast dedication Sven Johnson (Mr. Siberry), personal assistant to Mr. Antonescu.

Man and Boy may take place during the 1930's depression era but is as relevant today as it ever was.  With the recent echos of Enron and Bernard Madoff not far behind us - this play hits as close, if not closer to home, in these currently difficult global and economic times.

A Man for All Seasons

Frank Langella holds court at the American Airlines Theatre in Roundabout's revival of A Man for All Seasons.  A history lesson of the best kind  - powerful, enlightening, and educational.   A top notch supporting cast and crew make this a tour de force evening in the theatre.

Doug Hughes provides impeccable direction in the interpretation of Robert Bolt's 1961 Tony Award winning play regarding the historical significance of  Sir Thomas More - a well respected Lord Chancellor of England.   At its core, the story deals with personal faith, moral authority, and the meaning of silence in the course of public affairs.  

Sir Thomas More simply refused to join the Church of England after it's break from the Catholic Church in Rome and refused to speak and provide his opinion on the King's (Henry VIII) actions regarding his divorce from Catherine of Aragon and remarriage to Anne Boleyn.  His actions of silence were deemed a capital offense as he appeared to challenge the King's conduct in "the great matter" of the divorce and remarriage.   For not speaking, he was executed.  

Langella is likely to pick up a Tony nod, if not his 4th actual one for this near flawless performance.  Scenes intensely dramatic are peppered with humor.  Monologues of great importance roll effortlessly off his tongue.  Very human.  Almost real.  Totally Mesmerizing.