Butley

Ben Butley -- Meet Virginia Woolf. The mind games, the booze, the deep seated acrimony... sardonic wit, cut-to-the-bone sarcasm, bitter laughter, but most of all the internal hate, or shame, or desire?! Subtext. Keyword. It's all about what is said indirectly, or, "point-in-fact", not said at all. Is he gay? Or was it all just speaking figuratively. One thing for sure, he's happiest when others are broken down - or is he?



After the Odd Couple, I had mixed expectations about seeing Nathan Lane again... Worried it would be Bialistock and Bloom all over again (and again). Well, sir - not tonight. Nathan gave a top notch performance. Deep. Emotional. You left feeling sorry for Ben Butley. But oh, what a ride along the way. He just may have met his match with his latest conquest. Then again, can you really call it a conquest any longer.... Virginia - you just might have met your match!

Losing Louie

Truly an entertaining evening at Manhattan Theater Club's first production of the 2007 season. Louie, the namesake about which the play transpires, is dead. The story seamlessly eases between the current and the past. Two stories - one the story of his life, the other the story of his funeral and all the dirt that finally comes out. Aren't all families twisted in some familiar way?

This is the story of family, conflict, and infidelity in the 1960's. It's the story of secrets, lies, and the extent to which people go to cover them up and smooth things over. It's about the truths you are afraid to tell yourself. Perception is reality? Possibly.

Matthew Arkin leads the talented lineup on the stage at the Biltmore. The staging and direction by Jerry Zachs is brilliant. The use of lighting to change the mood and time periods was brilliant. It all comes together in the end and the truth always comes out... or does it?

It really struck me that while this story, chock full of twists, turns and laughs just might contain some element of truth or relevancy to just about everyone in the audience.

A Chorus Line

We all know the story - and many of us have seen the movie. But despite this - the Broadway revival of A Chorus Line is destined to stay around on Broadway for another long run.

The bare stage, the spotlight, the empty theater, the solitary white line painted down the middle of the stage, the dancers, the stories and emotion all add up to... A singular sensation! (ok, i just had to say that!).

Each of the 17 dancers has something to share and each of them makes you feel like the story and the struggle is personally theirs. Many a show has an ensemble cast - and the story within this story is about the very same thing - The desire to make it on "the line". The hopes and dreams not to become "the star", but just to "make it" and then shine thru! This ensemble cast takes you there!

I found myself in awe at how the dancers (we all know they must be TOP notch to have been cast in the show) switch back and forth between the hesitancy and awkward nature of their characters, the tears, the "learning the routines" to the flawless execution of the dance routines in the show numbers. I just have one comment to Bob Alian (the show is still in previews, so changes can officially be made) -- Bring down the mirrors at the end and let the darn cast come out for another bow!

It takes hard work and a lot of rejection before you "get there". The 17 dancers showed us all through their individual stories that this fall's revival of A Chorus Line is going to be "The One"!

An Evening of Brecht, Fo and Pinter

Talent can be found in the basement of the Drama Bookshop on W.40th Street in the Arthur Seelen Theater. Joel Bischoff worked for me for a short while on a temporary assignment as did a few other actors/musicians. What a pleasure for our paths to cross.

This show had a short run - 3 days - but well worth the $8 ticket! Three one act plays - one each by Brecht, Fo, and Pinter. An interesting combination - Brecht's drama set in Nazi Germany in the 1930's, Fo's farce set in a city square "any time, anywhere" and Pinter's 8 minute dramatic sketch set in "a room".

A black box theater is... well... a black box theater - but it's so refreshing to see some raw talent close-up in such a small setting. Kudos to Hyphenate Theater for bringing these talented actors together!

Pig Farm

If you like Saturday Night Live, you will love this show. It's basically the extended version of SNL. I personally don't like this type of show (at least not on stage), but I must say that the cast did a superb job at the crazy antics and slapstick humor! Dennis O'Hare stole more than a handful of scenes. Logan Marshall-Green was simply adorable as the boy from Juvie Hall.

Just a little taste of the humor - all the characters were all named with the letter "T" - Tim, Tom, Tina, and Teddy. It started with that and never looked back... If it's your thing - enjoy!

Three Penny Opera

I have never been more disappointed by the performance, direction, and production-quality of a show in my life. Each and every actor, director and producer, and staff member of the Roundabout Theater should be professionally embarrassed at the "performance" we were subjected to.

Roundabout - shame on you! You should be publically repremanded for this 19 car pile-up on West 54th Street.

The History Boys

Here we go - once again - BEST PLAY is in the works for this one! The ensemble cast - all from the original run in London on the West End - is here on Broadway for another go at it. This one is a Don't Miss. The boys are adorable and likeable and believable - and to say that Richard Griffiths is theatrical perfection understating his performance. The one-woman stand out in the play was Francis De La Tour. Her sardonic wit about academia and men was biting and yet, we all know, true.

The play is about the games of academia as played by the adults and the games of youth as played by the boys and how those two games often intersect and produce the unique consequences we call "life". Two parallel storylines yet really one story. Alan Bennett (playwright) has a true gift for humor, wit, and irony. All around an intelligent, well acted, and well written peice.

It's a great evening of theater - you'll truly be entertained - by at least 2 or 3 members of the cast. I really can't pick a favorite I must say. If you're in academia - this one is for you. The message is clear - Pass it On. (you'll get it when you see it, don't worry).

The name may have been The History Boys, but let me tell you, they sure did well in Chemistry too !

The Pajama Game

What a treat! There is simply nothing musically better on Broadway right now! The leading roles couldn't have been cast any better - - Chemistry... yeah chemistry. Harry Connick, Jr. and Kelly O'Hara were simply glowing the entire performance.

The story, of course, is one of those saccharine, 1950's style musicals! (based on the novel 7 1/2 cents). Lots of singing and dancing for no particular reason! More than one great tune you already knew - - "Steam Heat", "Hernando's Hideaway", and the song simply made for Harry Connick Jr to sing - "Hey There" (you with those stars in your eyes)... The supporting cast is the best kept secret too. Roz Ryan (Chicago, Ain't Misbehavin', Dream Girls), Michael McKeen (Lenny from Laverne and Shirley), and a cast of wonderfully fun and colorful dancers and singers.

And when Harry Connick Jr. opens his mouth - - I can only compare it to perhaps watching Barbra Streisand in concert. He was magnificent. (ok, i'm not even going to mention the part when he takes his shirt off - - ooohh child!). The trade off, you see, is that HCJ can't really dance very well and the acting was ok (better than i expected!). But I tell you that it won't phase you one bit! He more than makes up for it with his voice.

Unfortunately, this one is sold out - - so unless you're scalping a very expensive ticket you're going to have to just trust me on this one.

BEST MUSICAL REVIVAL here we come!

Faith Healer

This is one tremendous peice of drama. Powerful, well written, brilliant storyline. Tremendous performances by all 3 stars - Ian McDiarmid, Cherry Jones, Ralph Finnes each turn in an extremely strong performance.

Never having seen or read this play before - I was mezmorized by the twist each character gave to the same story - - Who's truth is the real truth?

I must say that as powerful as the show was (Ralph Finnes was tremendous!) - I was a bit disappointed that the show was really 3 mini-monolouges - and none of the actors were ever on stage at the same time! With a smidge of regret - I also have to say the play dragged on a bit. Not that I would ever suggest changing anything, but perhaps shortening it up a bit (Ralph) might help even more.

But then again, who am I?

Shining City

Great names in this cast - Oliver Platt, Martha Plimpton, Brian O'Byrne. Unfortunately the story drags and at one point i thought i'd stand up and tell Oliver Platt to shut up and move on! There's a message behind all of it - which is laudable, but took way too much effort to get to. Three main scenes - all way too long.

I went into this one with a high expectation and came out with an opinion in the basement. Good idea. Bad execution.

The Drowsy Chaperone

I think if I could ever write a Broadway show, it might come out just like this one! I must say, I went in with mixed expectations but I came out beaming from ear to ear with a smile and rave reviews for the clever and unique story!

Bob Martin wrote the book and was ever so crafty to also star as a character in the show. Now, I know what you might be thinking - I have many times before told you to beware of the guy who writes and stars in his own play! But this one is different. Trust me.

"The Drowsy Chaperone" is really a story in one man's mind about a musical called "The Drowsy Chaperone"of days gone by. The entire story is about how musicals just sweep you away and take you to a place where you're not sad or blue. All this is relayed to us by "Man in Chair", who's sitting in his living room in a not-so-fancy New York apartment on a rainy afternoon listening to his favorite record album of a Broadway musical (yes record album) to cheer him up. The clever part here is that Bob never leaves the stage. He peppers each scene (just short of interacting with the characters) with his own commentary (and comic wit) on the show. He never let's us forget we're watching what he's hearing and enjoying on his record album.

Now - onto the show - within the show - - Sutton Foster (from "Millie"), Georgia Engel (you know her from "The Mary Tyler Moore Show"), Edward Hibbert (you know him as Gil Chesterton on "Frasier"), Jason Kravits (you know him as Richard Bay on The Practice") and all the others in this true "cast of characters" all entertain us!

The actual story of the Drowsy Chaperone is really musical theater fluff - which if often pointed out by Bob - which keeps us laughing even harder. At one point in a company number the record gets stuck- so the actors on the stage "get stuck" (hehehe). He goes to the bathroom at the "intermission" and tells us to listen to the entre act by the orchestra until he returns. The actors all come out on stage in completely different costumes surrounded by different scenery - (oops, he put the wrong record on the turntable (hehehe). See, it's silly funny!

Even if you're not a Broadway musical freak like me - I'm pretty sure you'll leave the theater with the same warm feeling inside. It's truly the Broadway Musical of all Musicals this season! Put your blades on and glide on over to the Marriott Marquis!

The Odd Couple

Two great actors. Too much hype.

Neil Simon's play is funny, but as stale as week old bread.

Somehow think this show with any other actors would flop.

Any show staring these two actors is going to be a smash hit.

This is all disspointing and unfortunate.

Show People

Picture this - Tom (Ty Burrell) apparently has a lot of money - a huge house in Montauk (awesome set), a Mercedes in the driveway, and a successful computer company - so think what you may... He hires two washed up Broadway actors to play "his parents". You soon find out it's to impress his girlfriend to whom he is going to propose this weekend. He's trying for the "perfect family" look this weekend. Sounds harmless - right?

After all the characters meet and he's briefly out of the room - The fiancee blurts out that she can't go on lying to such sweet parents - - he's gay and she's been hired to play his girlfriend for his parent's visit this weekend. Seems harmless right?

But wait a minute - They quickly realize they are all actors. What do they all do with this information? They all know... But he doesn't know they know. Why are they here? What kind of creepy guy is he? What crazy plan does he have for them all?

Well - we eventually find out at the (very) end of Act 2 - and let me tell you it was the stupidest ending I could have imagined! All that time invested (with these pretty fine actors) and all for this?? I enjoyed the eternally caustic Marnie (Debra Monk) and her ever dramatic husband Jerry (Larry Pressman). The "fiance", Natalie (Judy Greer), aptly rounds out the comic trio. Debra Monk really made the show worth the price. All things considered - she's a gem! I really thought Tom yelled too much and seemed like too much of a psycho - even though I guess he was supposed to be playing one - I just didn't enjoy his demeanor.

This play, written by Paul Weitz, went to a place a bit too dark for this audience, I must say. How far will people go for the "performance of a lifetime"? What is "pure acting" and a "great performance"?.

Well - I found out and let me tell you - Funny, Funny, Funny, yet Stupid, Stupid, Stupid!

Tryst

Just when you think it's a non-musical version of Dirty Rotten Scoundrels(off broadway, of course), the plot changes - it's a love story. But wait - is it? Can George Love (Max Caulfield) complete his caper? Is Adelaide Pinchin (Amelia Campbell) really as naive and innocent as she seems? A pinch of phychological drama always makes the evening electrifying.

The drama set in 1910 in London keeps you guessing right unitl the very end. (I won't give it away, don't worry).

Both Max and Amelia ruled the stage together and held your attention the whole way thru this tale. Adelaide's transformation in Act II is both ying and yang. It makes her stronger - able to stand on her own - stand up to George - but what does it ultimately get her?

Swing on over to the Promenade Theater on 76th and Broadway. Even if it's just for a chance to see Max (you might remember him better as Miles Colby from Dynasty) with his shirt off - it's worth it!

Awake and Sing!

You may find yourself wishing you were able to do either of the two key title words during the show! Seems strangely appropriate that this would be a Lincoln Center Theater production. Not sure if this one would be able to stand on its own as an independent production.

Unfortunately the cast was a dichotomy - either very talented - Zoe Wanamaker (the mother) or a series of "Broadway debuts". And believe me, you could see the difference. While it was nice to see Lauren Ambrose (Six Feet Under) on stage I didn't get that same "she's deep" feeling as I get when seeing her on "screen". The brother (Pablo Schreiber) seemed slightly over-acted (perhaps that had something to do with the dated and stale plot). It was a treat to see Ben Gazzara - but I was not sure if his speech impediment was acting or the result of a recent stroke. Sad, but true.

Act I seemed to crawl. Act II picked up a bit - and I must say that I truly loved the use of the disappearing walls in the apartment to symbolize the "freeing" of the characters from their "emotional prisons" as time passed in the play. I think that WAS the best element of the show for me. The show progresses to the "obvious" end (most seemed to know where Grandpa was going and what he was going to do). I just didn't think the play had the necessary ingredients to keep an audience interested over 2 hours and 30 minutes.

One other note - it seems that production had to have a special white sheet of paper inserted into the Playbill (like those "Is your Cell Phone off?" pages) to tell you that there would be an additional 2 minute pause between two scenes (in addition to the TWO intermissions!). Apparently, people have been getting up and leaving thinking the show was over at the wrong time. I wonder why?!

Or perhaps they simply took the opportunity to flee under cover of darkness!

[title of show] - off Broadway

Witty, sarcastic, young, full of energy, and what you would think would be the most boring topic in the world instead sizzles at the Vineyard Theater! Jeff Bowen and Hunter Bell present a new musical written by them, about them, and for them. They are cute, they are funny, and they are on stage acting out a play for a musical theater festival about two cute and funny boys writing a play about two cute and funny boys trying to write a new musical... Ok - you get it? Art imitating life... Life imitating art?

Clever dialogue, catchy lyrics and music - they even gave the piano player a few lines in the show ("It's ok, we cleared it with the union", they exclaim!). They obviously rail against the establishment (but I'm sure that either of them would take the lead role in Beauty and the Beast if the price was right)!

It's out there - for sure. Struggling artists, wacky friends, zany circumstances abound. I liked the comedy around some of the scenes just "ending" to black. Someone clever must have written the lighting queues too! Quite a few of the songs were catchy - including "Nine People's Favorite Thing" (I'd like to be nine people's favorite thing rather than 100 people's ninth favorite thing), "Monkeys and Playbills" (a very clever use of old flop musical titles - one after the another strung together in a whole song and scene), and Montage/Photo Shoot" (change it, don't change it).

It's been extended - and there's a good reason - you'll laugh and you'll enjoy! Wander down to the Vineyard Theater on E.15th and catch these crazy boys and girls while it lasts.

70, Girls, 70

This was a Sunday evening TREAT! The show is about old people - and the cast of "old timers" was like the billing at a "Best of" award show. Encores! at City Center outdid themselves with this cast.

If you know anything about Encores - they put on rarely produced musicals. This one, by Kander and Ebb, appeared in 1971 just after Cabaret and just before Chicago but just didn't make it big.

This show is literally a show within a show - it was an attempt to give "older" folks a place in the spotlight as well as a role in the play on stage. So clever. Despite this fact, unfortunately, it seems that Follies (another show about old people) just opened on Broadway before this one - and the word on the street is that this one just couldn't compete. Oh well - that's how things work out sometime. It only ran for 35 performances.

Check Out this Cast:

Olympia Dukakis (Moonstruck)
Charlotte Rae (Facts of Life)
Mary Jo Calett (Pearl, Different Strokes)
Carole Cook (Hello Dolly)
Bob Dishy (Broadway/TV/Film)
Tina Fabrique (Broadway Legend)
George S. Irving (Long Broadway Career)
Anita Gillette (Broadway/TV legend)
and a company of "not so old", old timers!

Everyone was supurb. Encores only runs for a week, so all the performances are staged with the actors using their libretos. It's informal, yet still effective. And with this cast of characters you barely even noticed.

From the very top of the show - it was "all out" fun on stage. I hope I get to do this show when I'm 70!

We'll just have to see who else makes it along with me!

Festen

Oh Boy - this one is a bolt of lightning! Ouch! If any of you reading this think that going to plays is all about music, laughter and an occasional teardrop - think again! Festen (the Danish word for Celebration) bites to the core. Some of you may have seen the movie version (named "Celebration" for it's USA release). I hear it is just as dark and bitter.

This is the tale of a rich (and twisted) family in Denmark. The father is turning 60 and the whole family returns to the family house (more like estate) for a dinner celebration. Right from the beginning you meet the characters - all dark - all seem to have something to hide, something "odd" about them, something brewing beneath the surface. You come to learn that one of the children committed suicide last year which makes the tension thicker. It is right from this point that you hear an eerie tone (like you'd hear in a horror movie) start to resonate. Additionally, the sounds of running water and the voice of a small child echo in the background. It's creepy!! (check out the website and you will hear it - http://www.festenonbroadway.com )

Juliana Margulies (ER), Jeremy Sisto (Six Feet Under - Billy Chenowith) are among the faces of the children. Speaking of Six Feet Under, it actually felt a bit like that show. (If you watch, you'd know what i mean). The mother is played by Ali MacGraw - her return to Broadway after many years.

Being a film/play made in the Danish Dogme style (i think i referred to that correctly) - the lighting was all white - no colors. The stage was stark (but that's just like those Danes - think Danish Modern Furniture!). It was all about the art, the story, and the message - not any Glitz and Glamour. That, essentially, is the Dogme Style of film/play making.

Well... If that's what they set out to do - they certainly succeeded. You come to learn at dinner that the father molested his son (and dead daughter). One of the other sons is nutz- of course most aptly played by Billy Chenowith...er... Jeremy Sisto... The mother knew about all this for years and shut it out - playing the ever silent matriarch of the family.

Act II degrades even further into the family swamp. Family members fighting family members, father trying to molest the young granddaughter, other son tries to kill father, mother sobs - and all the while they sing very eerie family songs (they all seem to know the words like they were raised singing them) and dance through the house drunk on the evening's wine.

The use concurrent use of space on the stage by 2 or 3 different sets of characters was amazing. Without having 5 or 6 rooms to play the scenes in, they often all used the same space rapidly alternating the dialogue and lighting all the while seeming to be alone in the space without interfering with the others. Not easy to block out - and not at all easy to perform. The effect only added to the eerie tension of the evening.

Tension, along with an eerie horror movie sound/tone permeated the theater from the minute they walked on stage, to the last word was uttered. I tell you - it was twisted! I hope there's a tall glass bourbon waiting for all of them every night they walk off stage! I know I certainly needed one!

Entertaining Mr. Sloane

It seems that the season of plays at the Roundabout (and beyond!) are all about slightly crazy people. No exception here.

A crazy 41 year old woman who has a sick father and slightly closeted homo brother all seem to revolve around a young, mysterious stranger. Ok, the woman wants him to call her Mom - and at the same time to have sex with him (on both, she succeeds). The father knows the boy killed someone in his past. But he's old and feeble - so who could he tell? The boy would just kill him too. The brother (Alec Baldwin) is a dweeby, British aristocrat (with two cars) and all the same a closet case! There was much innuendo and double entendre in all the dialogue... Ok - so the young mysterious boy emerges with his shirt off (um, yes, he's gorgeous and built!) and you find yourself wishing you were on stage instead.

A bit too "British" for me - but all the while well acted and funny. I just have one question - where exactly was the crossover from Act II to Act III?

Based on a Totally True Story

This really is ... Based on a Totally True Story.... it seems that the Playwright, Roberto Aguirre-Sacasa, has written a play about his own life - a play in which his lead character writes a comic book and plays and gets his "big break" but all around him his life is falling apart....

Unusually conversational - the characters are actually telling you a story - more than ocassionally break the 4th wall to converse with you and explain what is going on (in real life) about this play which is unfolding in front of us. I'm once again reminded that my friend Dennis Larkin could probably explain all the theatrical tricks and gimicks that all probably have technical names to them (e.g. compression and other terms that elude me). What I was left with was a feeling of satisfaction and emotional connection with the characters.

The main character, Ethan Keene (Carson Elrod) and his boyfriend, Michael Sullivan (Pedro Pascal), are the center of the drama. The chemistry between them was palpable. I believed them. I enjoyed them. The Hollywood agent, MaryEllen (Kristine Nielsen), was supurb - truly an "over the top" Hollywood character! I enjoyed her. Ethan's dad was none other than Michael Tucker (you remember LA Law, right?). He was endearing. I enjoyed him.

The pace was quick. Dialogue - snappy - funny - in a word - enjoyable. The two hours really flew. A true-grit New Yorker or die-hard LA resident would surely appreciate the subtle references and the "oh how true it is" references.

I haven't seen a play this funny, this emotionally deep, and thoroughly enjoyable in a quite a while.

This one is, like all other MTC productions, is a limited run... and speaking of run - - you'd better get your sneakers on. This one is worth a sprint!

Confessions of a Mormon Boy

Confessions of a Mormon Boy - (alternate title: "I Need Therapy but Can't Afford it because I Spent All My Money on a Hairpeice - so I Wrote a Show Instead). Steven Fales - what a character!

True - he does have that "Mormon smile". You know - that wholesome look, perfect teeth, high cheek bones, and high school jock body... Well - after about 15 minutes you realize it's all about him (who else would it be about, right?). What this play amounts to is another self-patronizing gab fest - "I had the perfect life on the outside but was messed up on the inside - - - my life spiraled out of control - - but I'm back on track now and I'm gonna be better than ever!!" - - - you know - - - just a different twist on Elaine Stritch, Liza Minnelli, or Judy Garland (at least it didn't end like Judy)!

Right in the playbill, you read that all of his story is true. A few names have been changed and perhaps a little "flair" has been added - but on par this thing is true. What was most disappointing was the whole religious thing. Growing up gay and Mormon - - Hello?! - oxymoron!! Somehow he clings to family and the church - even after he is ex-communicated, his father cuts him off and his wife divorces him (I don't think I could even make this up!). Even after the Mormon church tries to brainwash him (let's just say about 10 years worth) he still has a strong connection to it. He seems smart enough to recognize what has happened - but I for one am simply not a believer. What I see on-stage is one of those people who delights in drama and isn't happy unless he's got 3 problems and conflicts running concurrently. A true Queen!!

As you can see from the picture - he's pretty easy on the eyes (and changing his clothes on stage let's you know that attribute applies from head to toe). I just felt robbed in the end when he took off his hairpeice! Ok - it was one of those - "and I don't need this to be who I am" moments... but c'mon - while perhaps necessary to the drama of his whole life and his "recovery" - - It just made me feel like I was robbed.... He really is 36 years old and has a the body of a 26 year old. You believe every word of his rather successful stint as an escort - who wouldn't - he's gorgeous! - - But then all of a sudden he takes his hair off and the whole persona just crumbles - -

Honestly, without the hair I don't think I would have believed a word of the play! While talking on stage every night about your pathetic life might make you feel good - I think he might just need a bit more work one-on-one with a real shrink!!

Keep us out of it next time, Steven. I'd rather just admire your pictures in the back of HX.

Well

A mere 4 shows ago - i warned you - beware when the person who WROTE the show actually STARS IN the show too... Here we go again! "Well" is not your standard Broadway play. I'm really not sure what Lisa Korn is trying to convey either. Some mish-mash about how some people are perpetually "sick" and others get "well". (get it? - well, as in healthy).

The play meanders in and out of her "real life" and "stage life". She's one minute putting on a play (scene by scene) and the next chatting with her mother (yes, this is the woman who was asleep in her chair on stage while you are arriving into the theater). I really did like the mother's character - she was the funny one (Jayne Houdyshell). Periodically she applies a theatrical "trick" of switching the stage lights off and speaking to the audience under a focused spot light to confess to us something she doesn't want her monther to hear. (my friend Dennis Larkin will tell me what the name of that theatrical trick is, i'm sure). Low and behold, she then pulls the joke of having her mother tell her - "I can hear you, you know"! Oh brother - how trite!!

She seems to focus on "sick" people - and all i could tell is that she is trying to say the some people need attention, need to create "drama" about something - and in this case it's the "allergies" excuse. "Everything wrong with your health is due to allergies" seems to be what her mother subscribes to - Aches, Pains, Fatigue, and everything else. That was somehow juxtaposed against her mother's desire to live in a racially integrated neighborhood in Detroit in the 1960's. Her mother was somehow able to lead the neighborhood and make it "well" (healing racial devides), but yet she was otherwise a "sick" older lady. (Huh?!! What's the connection?!!)

What's the point? I mean really - we all walked out of the theater wondering what she was really trying to tell us. (remember, she really was speaking to us - breaking the 4th wall and all)....

I have a better perscription for you - stay home in bed and eat some chicken soup - it's only $3.99 at Fairway. Far cheaper than a ticket to "Well".

Phenomenon

Something off-beat and different. Mixed-Media of sorts. A little dialogue, song, and sprinkled with dance. It's a play, it's a musical, it's ballet?! Well, mostly a play. It's a show about nothing, and at the same time, something. Set in Toutle, Washington (the small town just outside Mt. St. Helens) the play takes place the day BEFORE the infamous erruption of the sleeping giant (May 17th 1980). Of course, you don't get to see an actual erruption (wouldn't that make a mess on stage!?). But you do get to see a "slice of life" play. You get to see a how circumstances around us really do influence our relationships, our desires, and our lives.

Part history lesson, part fantasy - the show entertained. Definately artistic, definately off-beat.

Here (the theater company) is a sort of "artist in residence program" of sorts. I don't pretend to remember all the details, but this show was a long time in the making to bring it to the public.

Visit HERE and you'll be supporting the ARTS, for sure!

Bernarda Alba

The work of Federico Garcia Lorca - this dark tale of a stern mother and her 5 very dissimilar daughters is simply put - raw. The music varies from light hearted - to mostly dark and sad. Bernarda Alba - a hard, stern, and bitter woman attempts to keep her 5 daughters locked away from the "outside world" after her husband dies. This would be to keep them them pure and innocent. Just like all catholic school girls we know - you can only imagine how that isn't going to work. And boy, it surely doesn't.

The story is an alegory - I suppose to represent the political climate in Spain at the time - the King repressing the people and keeping the country "closed". The sets, music and costumes all fit the story and even the placement of the orchestra atop the stage in one straight line seemed to be part of painting the backdrop for the performance.

An interesting cast - lead by Felicia Rachad, failed to resemble a family. The daughters were too different, too dis-similar. While I like the music and the story - i just didn't feel the depth of the emotion that I think I should have when i left.

I did go for a drink afterwards - who wouldn't! This one is not for those looking for a laugh! Trust me - order a double at the bar ahead of time!

The Wooden Breeks

You know you have to worry when 3/4 of the audience gets up and leaves at the intermission. Well - I did not. I moved right up to the front row for Act II (and I'm glad I did - it was much better than Act I). Granted - that Lucille Lortel theater is a dump and the seats are uncomfortable - but somehow i think people will stay if the story keeps them there. I have to admit - it's a story you have to concentrate on if you're going to follow it (i also admit i did not do so well!). It's a story - truly a "storybook" story - made up - - a dream - - illogical things happen - - and the people wear strange clothes and costumes. It takes place in Wales or Scotland or someplace they speak really funny English - not your normal British English - but the kind even a Brit can't understand so well!

Act I needs a lot of work. I know it's the "setup", but it was too long and too "what-the-heck-is-going-on-here" feeling. Act II really brought it all together, but by then they lost (literally) most of the audience.

Veanne Cox - terriffic (yes, from A Mother a Daughter, and a Gun). Actually I thought all the actors were top notch - it's just the darn story is so twisted and strange! There's a kid who's about 15 years old - and he was so good. I hope I DO see them all sometime again soon!

I guess all I can say in conclusion is that, once again, after you see "all kinds" of shows you start to appreciate how diverse and wonderful the theater can be to all kinds of people. At least I can say, these guys worked HARD on stage and deserved my applause at the end. And they got it too.

Clean Alternatives

Although they didn't mention recycling or composting - (i could swear they advertised that!), this play was one thing for sure - preachy. You always have to be on guard when you see the playwright also staring in it! At least there's no doubting who Brian Dykstra voted for - (hint, it wasn't Bush). No doubting his convictions and beliefs - gotta give him credit for that.

Held in a very intimate black box theater (theater C at 59E59) the show hammered away at the current political administration, global warming, corporate and personl greed, apathy, and the evil dollar - - hammered, hammered, hammered... (get my point).

I actually didn't hate it, although at times he really did seem to be shoving too many facts down my throat. The play centered around a female, environmentally conscious, concerned citizen who takes money from the evil empire (the corporations) and

tries to use it against them by running for office and delivering her message in Slam Poerty style. Two evil and super intelligent lawyers (oh, they are the scum of the earth) really put the screws to her too!

The story could be shorter, but the message was well delivered. Humorous at times (Mark Boyett was supurb), preachy at others - it's certainly worth the small price for the 2+ hours.

Nobody said theater was all the same - it takes all types to make the world go 'round...

The Right Kind of People

Who are the right kind of people? Well according to Charles Grodin, they are the old-money, rich, white men and women on the Coop board of the buildings of upper 5th avenue.

The stinging social commentary played out on the Theater A stage at 59E59 Theaters. A cast of well groomed NYC socialites delivered the message that racism and discrimination is indeed alive and well in 2006. Wealth and priviledge may not promote it overtly, but behind closed doors, it's clearly the unspoken rather than the spoken that keeps it alive - Defending their kind.

The emsemble cast (with a favorite of mine - Doris Belack) did a remarkable job of using the space and lighting effects to deliver story via a series of short conversations and group interactions.


Not that I live on 5th Avenue - but this show has got to make anyone who saw it think twice about how they actually got past the Coop board to get into their building... According to Charles Groden - it's even possible to be too wealthy!

Grab this one while it lasts... well worth a trip off the couch in your Coop to go see it. I'm sure they'll let you back in the building when you return.

Angry Young Women in Low Rise Jean with High Class Issues

You can only see so much "Broadway" before you realize that the talent has to come from somewhere! Where, you ask? Well - one place is Off-Broadway (you know, those cheap shows with low budgets downtown)
This week, my work world and my non-work world collided in a good way. At work we have a small project going on where we have hired a small temporary staff. One of those folks is Nicholas J. Colemen and this show is his latest project. I mention his name and put in his picture in here to prove my point - talent comes from somewhere - it doesn't just "appear" on Broadway ("I'm ready for my close-up, Mr. Demille").
 
If all you see are "big ol'" Broadway productions, you are truly missing some of the best talent out there - developing their art and honing their skills. Now, I'm sure Nick would love to be a regular on "One Life to Live" or "As the World Turns" (yes, he has been featured) but downtown in a small theater on East 4th Street - you can really see an actor with the freedom to create, the hunger to entertain, and the power to make you laugh. And Nick is just one of several.
This show is a mix of stand up, sit-com, and a bunch of over-the-top women with a message to tell you about society, sex and men! Performed in 5 vignettes, the 90 minute show leaves you wondering exactly how much fun the performers must have on stage when performing.

Angry Young Women in Low Rise Jeans with High Class Issues - a gem in the East Villlage! And keep an eye out - You'll see Nick (and his other cast members again real soon!).