Sons of the Prophet

Stephen Karam got his start in the deep dark chambers of the Roundabout Underground at the Laura Pels Theatre at the Harold and Miriam Steinberg Center for Theatre (i love saying that mouthful) on West 46th Street a few seasons ago with Speech & Debate.  Well reviewed and well received see my own prior review here, the staff at the Roundabout have promoted him one floor up to the main stage with his latest work, Sons of the Prophet.  Quite a nice promotion for the young and talented playwright.

If you're going to a play for action, adventure, non-stop laughter, or any other sensory overload experience - this is not the play for you.   This play, simply put, is a matter-of-fact, slice-of-life, take-it-for-what it's-worth, darkly funny, but intensely serious play that is only magnified by the fine actors of all ages presenting it on the stage.

Taking the helm is one to today's extremely handsome, adaptable and charismatic actors, Santino Fontana, as Joseph (last seen at the roundabout as Earnest in The Importance of Bring Earnest).  Joanna Gleason takes on some of the comic relief in her hysterically funny and ironically honest portrayal of Joseph's boss, Gloria.  Supporting Mr. Fontana quite aptly are the adorable Chris Perfetti (Charles, his brother), an incredibly hunky Charles Socarides (Timothy, a reporter), Yusef Bulos (Bill, his uncle) Jonathan Louis Dent (Vin, the local football star) and Lizbeth MacKay and Dee Nelson (both playing multiple and ocassionally hysterical ensemble characters).

The circumstances of the play are as follows:  Lebanese father of two gay sons (what are the chances?) killed in car crash caused by teenage prank executed by one local black (mulatto) football star.  Controversy ensues when boy sentenced to juvenile detention after championship football game.  Family and community torn over this decision.  Boys turn to family, faith and friends to help soothe, sort out, and understand what's best for all concerned.  Throw in a dash of timely health-care issues (Joseph has to take a job Gloria to get health benefits for his ailments) and a few social, religious and political barbs and you've got a cauldron that simmers evenly and emits a delicious aroma that permeates the theatre entire show.

No flying spiders.  No trampolines.  No flying monkeys.  Just a great night of stage acting and theatre that leaves you with a few things to think about on the way out.  Bravo Mr. Karam and to the entire cast.

Private Lives

Noel Coward is back on Broadway with his delightfully light and fun, Private Lives.  Despite its length (3 full old-fashioned acts for those of you who want to catch the 10:45 train to Scarsdale!) the characters' energy and vigor shine through in the performances and almost make you forget how late it is when you exit the theatre.

Kim Cattrall, while not a stranger to either stage or screen, appears to me from reading her bio in the playbill to be making her Broadway debut as Amanda.  Playing opposite her, as the ex-husband, Elyot,  her is the handsome Paul Gross, "one of Canada's most popular actors" (I'm quoting the playbill here).

Together they weave a bit of a farcical tale about two wild and crazy lovers who marry only to find out they didn't like living with each other and got divorced.  Reunited, by chance, on the French riviera on adjoining hotel balconies, both on their second honeymoons, they recklessly decide they were meant to be and run off to Paris together to start again.  What follows is a dizzying array of romance, fights, misunderstandings, and apologies in their fabulous Paris apartment (Kudos to Rob Howell, set Designer).

This production is fresh off the west-end where Cattrall first took the leading role.  Not exactly "freshened-up" for the American audience,  I was hoping for some of the references and dialogue to be a bit less European.  And for the record, it did not go unnoticed by my theatre-going pals that these characters were all supposed to be in their early 30's.  Sir. Eyre (director) - did you realize Ms. Cattrall is in her 50s and despite her ravishing looks and divine figure, nobody is going to believe those ages for one moment?  You could only hope we missed that line altogether for it not to matter.

But alas, the fine performances by Cattrall and Gross and the supporting actors, Simon Paisley Day and Anna Madeley were more than enough to keep the eyes open and the spirit lifted despite the late hour it all wraps up on 45th Street.

Other Desert Cities

I originally reviewed the December 2010 Lincoln Center Theatre production at the Vivian Beaumont Theatre and my review can be found here.  An instantly popular commodity, the play, by John Robin Baitz, almost immediately announced a Broadway transfer for the following year.

You'll have to read my original review for the baseline facts and circumstances.  What I will say at this re-visit to the property is that the Broadway transfer, now starring Rachel Griffiths in her Broadway debut (replacing Elizabeth Marvel) and Judith Light (replacing Linda Lavin) in addition to the prior cast of Stockard Channing, Stacy Keach and Thomas Sadoski.

The show's tension level is even higher than before.  What Joe Mantello has been able to extract is the tighten the plot around the primary family secret, bring out the true and most pertinent family opinions, angst, fears, and political differences.   Ms. Light, as Silda, brings what appears to be a more intentionally focused political bent to the role where as Ms. Lavin played a more broad foil to the family.  Ms. Griffiths dives into the emotionally charged role with aplomb.  It's no secret she has masterfully played these broken roles in the past (Brenda Chenoweth on Six Feet Under, and Sarah Walker on Brothers and Sisters).  The result is a fantastic family-focused drama permeated by mystery and deception that may leave the family teetering on the brink of destruction.

You'll just have to pay a visit to the Booth Theatre to find out how it all plays out somewhere in the desert near Palm Springs.

The Blue Flower

Architects and designers will tell you this all the time - not everything that looks good on paper translates well when actually constructed.    2ST has tried to breathe new and massive quantities of life into a wilting bud that was first presented in 2004 at the New York Musical Theater Festival (NYMF) and then again in Boston at the American Repertory Theatre in 2010.   Unfortunately, it may have worked in one of the intimate black-box theaters of NYMF, but the idea, when in full bloom at a larger off-Broadway stage wilts under the hot light of day.

Effectively a story about a story, about a story - (yes, that's a lot of stories) - the show is told to the audience  by a narrator while the actors mostly silently act and sing in a somewhat chaotic manner.  When the actors do speak (it's rare) it's often, as in the case of Max, is in his made up gibberish language - which I never did quite connect the dots as to why he started speaking it in the first place.   As a matter of fact, there are a lot of points in the show that, while intriguing, never quite connected to the next point.  And I haven't even gotten to the songs yet!  The songs, you ask?  I found myself asking song after song - what on earth does this song have to do with what I'm watching?   Finally, I still, after asking no less than 4 reasonably intelligent-looking, theatre-going people sitting near me in the theatre, cannot understand what the significance of the blue flower even is. It's the title of the show for Pete's sake and they used blue flower petals about 6 times in the show too!  You'd think the gun, used in both act 1 and act 2 would somehow be made relevant!   Confounding, to say the least.  Distracting, confusing, and illogical mostly.

Notice that my critique centers on the construction, substance, and mood of the work itself.  That's because despite the awkwardness - the actors and musicians (on stage!) were some of the best that Broadway and off-Broadway has to offer - and they didn't fail to deliver a top notch performance despite the material's crippling handicap.  Taking the helm is the incomparable Marc Kudisch as Max.  He's engaging, crisp and powerful with a voice that can't be matched.  Sebastian Arcelus, as Franz, likewise, is a kind, handsome (um, very), and emotionally torn friend to Max.  His tender voice filled the theatre with deep emotion.  Meghan McGeary (Hannah) and Teal Wicks (Maria) both turned in powerhouse performances.  I frankly didn't like either of their characters, nor most of the material they were given to perform - but looking past that fact, I cant deny their immense talents.

So while the sets may be imaginative (Beowulf Boritt) and the sketches and storyboards may have looked good, The Blue Flower doesn't translate well from page to stage.  Director Will Pomerantz gave it a gallant try but this miss is neither his nor the actors' faults.  Some books should just be left on the coffee table to admire.

Ch'inglish

If anyone had told me a year ago that I'd be going to see a play half in Chinese on Broadway I might have fallen off my chair laughing.  Broadway doesn't do foreign language plays, does it?  Well hold onto your egg rolls Mr. Goldstone - Ch'inglish is now on Broadway!  And what a feast of comedy it turns out to be.  

David Henry Hwang has written another East meets West opus.  This time it's funnier than a fortune cookie and packed with great American and Chinese actors turning in top-notch performances.  Half of the play is in Chinese with subtitles boldly displayed above the action for all to read - and laugh over.  The play is mainly concerned with the mis-interpretations between English and Chinese, but also indirectly and delicately pokes fun at the stereotypes in both the American and Chinese cultures.

While the story could certainly use a haircut upwards of 20 minutes, Mr. Hwang has given us what I believe is groundbreaking.  While the main character, Daniel Cavanaugh (Gary Wilmes)  is a full-blooded American and his consultant is a British speaking immigrant to China (Stephen Pucci), we are treated to some magnificently entertaining and witty character acting by full-bodied Chinese actors who speak almost entirely in Chinese the entire evening - Johnny Wu (Bing), Christine Lin (Miss Zhao), Angela Lin (Miss Qian), and Larry Lei Zhang (Minister Cai Guoliang).  Taking the lead opposite Mr. Wilmes is the marvelously complex and incredibly funny Jennifer Lim as Xi Yan.

No matter what you think of the play - there is no doubt you will find the clean, modern, rapidly rotating sets by David Korins quite possibly the best on Broadway today!

On the surface we laugh at all the mis-translactions, both spoken and in writing - but lurking underneath Mr. Hwang has given us a rich study not only in linguistics, but culture, motivation, and love.

Venus in Fur

An intellectual, interesting, and engaging play, Venus in Fur, by David Ives is now playing at the Samuel J. Friedman Theatre at the Manhattan Theatre Club.   Featured just last season at the Classic Stage Company off-Broadway, MTC saw the potential and ushered this tension -filled twosome uptown without delay.

Staring that sexy Broadway vixen Nina Arianda and the uber-handsome Hugh Dancy - it's hard to imagine a better matched duo for this one.  Packed and dripping with sexual tension, desire, and mystery, Vanda and Thomas take us seamlessly back and forth between modern day rehearsal room and a 19th century aristocratic setting.  Genius in its construction, Mr. Ives endows the two characters with modern problems offset by deep secret desires and great talent.  He juxtaposes time, gender, and desire.  The actors are virtually perfect for the roles - mirroring the traits of the characters flawlessly.  You can't wait to hear what Vanda say or do next.  You quiver waiting for Thomas to submit to his obvious desires.

I did not see this play downtown at the Classic Stage Company, but after seeing it now in a modestly larger house I think I would have enjoyed it even more in an intimate space.  However, I make special note of John Lee Beatty's box-like set that significantly diminishes the cavernous stage at the Friedman to a more intimate size.   And of course, there's that signature Walter Bobbie directorial crispness to the pace and sharpness to the dialogue that both keep tension high and the momentum driving forward.

Cracking thunder and bursts of lighting accentuate what is already a wild and sexy storm of great theatre.  Don't miss this chance to succumb to your theatrical desires.

Milk Like Sugar

A potent new play, Milk like Sugar,  by Kirsten Greenidge is now running at the Peter Jay Sharp Theatre at Playwrights Horizons thru November 20th.

Sharp, honest dialogue, a stinging and relevant subject matter, and a top notch cast makes this transfer from the Women's Project Theater and La Jolla Playhouse a red-hot commodity for New York theatre.

Angela Lewis (Annie) takes the helm of this intense exploration of young black women in today's urban world. She along with her two best friends, Talisha (Cherise Boothe) and Margie (Nikiya Mathis) convince themselves that perhaps the "best way out" is to get pregnant.  As clearly inappropriate as this may seem, Ms. Greenidge explores the ignorance and false hopes these girls cling to in this pact to get pregnant. Not a one dimensional play by any means, Angela simultaneously has to deal with her mother (Myrna) at home - played to perfection by the extraordinarily talented Tonya Pinkins.  She, herself, clings onto the little she has - money, family, a job and her dream of writing.  Pregnant at a young age herself, she rebukes the church who failed her.  The cycle goes on.

One of the more interesting characters that Ms. Greenidge has thrown into the mix is Keera (Adrienne C. Moore) - an overweight, shy, religious girl who tries to convince Annie to do things God's way.  In a striking move by Ms. Greenidge, we ultimately see a completely different Keera behind the facade -again - clinging to hopes, dreams, and a desire to make more of herself and break the cycle.

The two male characters, not surprisingly, are the least developed. Malik's (J. Mallory-McCree) character is mostly flat - mostly due to the crafting of his expected lines.  Antwoine (LeRoy McClain), a pivotal character to the plot, is also marginalized in terms of dialogue and depth.  But let's just be clear that when he rips off his shirt there were more than a few gasps (the good kind)  from the rather diverse audience.

Powerful, relevant, packed with anger, frustration, and mostly despair - this new work sizzles on a red hot stage at Playwrights Horizons.

The Mountaintop

Quite possibly the worst play of the season on Broadway.  Quite possibly the best cast of the season on Broadway.  Katori Hall's new play is imaginative and entertaining, but not Broadway material.  The cast, the top notch duo of Angela Bassett and Samuel L. Jackson, bring credibility to the marquee but fail to bring much credibility to the material.

In many ways, I walked out of the theater feeling "duped".  I thought I was going to see a deep, moving, and riveting play about one of the most influential civil rights leaders of the 1960's - maybe learn something, walk away moved, motivated, empowered and energized about the message of civil rights.   Turns out - despite all the marketing falsely hyping the play up to be such a work - that the play is a silly fantasy about what might have happened in his hotel room the night before MKL was assassinated.  What I expected was something powerful, a moving and passionate discussion of issues, ideas, and some insight to the movement.  What I got was a fairly accurate portrait of a normal, imperfect, flawed man.

Was I impressed by the tremendous performances - yes - mostly by the lovely Ms. Bassett.  Mr. Jackson, a powerhouse in his own right, was clearly directed to tone it down.  He played things cool, calm, un-impassioned, and quite frankly, boring.

Don't be fooled like I was.  The plot is silly and the made of the stuff a tabloid might publish as entertaining, but ultimately empty calories and meaningless.  If you want to see it - go in knowing you won't come out any wiser or empowered.   Mr. Jackson and Ms. Bassett are worth seeing.  I just wish the material they presented was a powerful as they are.

The Lyons

A new play by Nicky Silver, The Lyons, strikes a bitter and bitingly funny tone that all too many dysfunctional families will likely recognize.  Never known for his innocuous dialogue or weak point of view, Mr. Silver puts death right in our faces this time as the patriarch of this family, Ben Lyons (Dick Latessa), is being consumed by cancer and near death in the hospital bed as his wife, Rita Lyons (Linda Lavin) and his children, Curtis and Lisa Lyons, (Michael Esper, Kate Jennings Grant) gather by his side.  From the very first moments, you realize this last visit is going to be anything but peaceful and quiet.

Ms. Lavin shines.  Her lines are peppered with bullets - most every one hitting a bulls-eye - each acknowledged with her trademark puckered lips, or a sharp glare.  The disappointment and anger of her entire married life boils to the forefront in these last few days.  Her children show up - each damaged in their own deep, sad, and personal ways over the years and bring no comfort to either father or mother - nor to each other.

Mr. Silver's play starts out in classic comedic form in Act I, but after a brief intermission Act II takes a few detours that take the audience by surprise - and especially Scene 2 in Act II, which seems to bring little relevance to the story and while cleverly acted by Mr Esper and Mr Wooddell (Brian), ended in an unnecessarily violent and disturbing confrontation.  Scene 3, which needed some link from Scene 2, returned us to the family drama more akin to Act I.  Add an unexpected detour and then it all wraps up.

Ms. Lavin's barbs, Mr. Latessa's rants, and their damaged children's pathos are all superbly and sharply executed.  If only Mr. Silver's story was as consistently impressive.  I think it's fair to say that if Ms. Lavin's name was not associated with this production, it would be far less enjoyable.  Nonetheless, it is - and therefore well worth the price of admission to see this stage veteran consistently fire her weapon and hit her targets with aplomb.

Kaddish (or The Key in the Window)

The Adaptations Project is presenting a powerful work based on the poem of the same name, Kaddish, by Allen Ginsberg.  Created and performed by Donnie Mather, the show was originally work shopped in 2009 at the New York International Fringe Festival by The Present Company.   A Kaddish, in Hebrew, is a prayer for the dead.  Mr. Ginsburg wrote his original poem as an elegy on the death of his mother and it has been transformed to a one-man memory-play for the stage.

In summary, Mr. Mather is hauntingly beautiful.  His every spoken word is painful yet tender; depressing yet hopeful.  The memories flow from his lips like water from a fountain - a continuous and chaotic cascade of emotion and passion.  A one-man show is probably one of the most frightening things an actor can mount - and Donnie executes flawlessly with a keen awareness of the subject, his thoughts and fears, and his demeanor and tone.  In a mere 80 minutes, Mr. Mather paints a vivid picture of Mr. Ginsburg's life with and without his mother.  For a fleeting moment, I felt similar to how i felt watching Jefferson Mays' brilliant performance in I Am My Own Wife.  Different play entirely, but a very similar vibe.

It's not every day that you can experience this depth of performance.  The experience is further magnified by the simple set and intentionally varied lighting (Brian H Scott), ingeniously timed and well placed video projections (C. Andrew Bauer) and eerie sound scape (Darron L West, Stowe Nelson) all in such an intimate and close space.

Relatively Speaking

Some quick research tells me that these three one-act gems came together around the one that Woody Allen wrote.   The umbrella title, Relatively Speaking, refers to the concept of family - as in your relatives and close friends.  Each of the plays has a connection to that theme and while none of them was written with the other in mind, they certainly have been packaged up together in as a 3-item gift-set for all to enjoy.

The first play, by Ethan Coen (of the famed film brother duo), Talking Cure, is the shortest and starts the evening off with some intelligent and witty banter between a prison inmate (Danny Hoch) and his psychiatrist (Jason Kravits) where we discover his issues probably stem from his mother and father.  Flash back - and we are brought to the dinner table where his pregnant mother (Katherine Borowitz) and father (Fred Melamed) are engaged in banter and bickering that is as acerbic and barb-filled as only a great writer could conjure up.

The second play, by Elaine May, entitled George is Dead, dives a bit deeper into the farcical with the always delightful and still attractive Marlo Thomas playing Doreen, an older, very wealthy, and very shallow woman in New York whose husband has just died on the ski-slopes in Colorado.  Doreen shows up at the apartment of the daughter (Lisa Emery) of her favorite nanny (Patricia O'Connell) who is, herself (the daughter), in the middle of a personal relationship crisis.  Ms. May has succeeded in this medium length gem to mix a ton of hilarity, along with a potent dose of sadness and pity.

The final play, Mr. Allen's Hollywood Motel, is a classic grand-farce that takes place in a seedy 1960's era roadside motel that involves a runaway bride, the mid-life-crisis-filled father of the groom, his wife, the father and mother of the bride, a best friend, a rabbi, a psychiatrist, the groom himself, and a pizza delivery man.  Think hysterical Carol Burnett Show skit.  Think Woody Allen.  Think Jewish humor.  Think - I never laughed so hard in all my life.   This is due, in part, to the all-star cast and their impeccable comedic timing in this gem - Steve Guttenberg, Ari Graynor, Grant Shaud (from Murphy Brown), Caroline Aaron,  Julie Kavner (Marge Simpson's voice), Mark Linn Baker (Bosom Buddies), Richard Libertini, Jason Kravits (The Practice), Danny Hoch and Bill Army.

A nicely packaged, witty, and all around entertaining evening in the theatre.  Every play on Broadway does not have to be a powerful, moving, and ground-breaking drama.  Sometimes you just need to laugh and director, John Turturro, has given us quite a treat this fall season in Relatively Speaking.

Kissless

Nothing like a great big group of talented, energetic and uber-adorable 20-somethings from Texas on a New York stage having the time of their collective lives to make you feel really old.  Kissless comes our way via Houston, Texas and is likely to garner top accolades at the NYMF this fall.

Part Glee, part West Side Story, part Ugly Betty, part Michael Jackson Thriller video - this teen-angst, coming of age musical enthusiastically took its first bow at the Theatre at St. Clement's on West 46th tonight.  Packed with an incredibly talented young talent, endowed with a peppy and decent, if not mostly predictable book given the subject matter, and jammed with a potpourri of pop/rock-opera-like power ballads and full-company numbers that are sure to bring a goose bump or two to your arm, this gem is sure to turn some heads and spark an after-NYMF life.

If anyone saw the show 13 make it's Broadway debut a few seasons ago  this tale, could possibly be considered the next installment in a hypothetical series - and while renaming this gem is unlike to actually happen, one might jokingly consider the possibility of calling it 18 just to line up the marketing concept and sell some seats.

The cast - far too large and talented (and did i mention young?) to highlight everyone here - brought an energy and enthusiasm that often times is lacking to the "home team" here in NYC.   Perhaps that feeling is just created by the festival atmosphere, perhaps a great, inspirational director, or perhaps, just maybe, it's just me turning into an old man - wishing i could do it all over again just like these kids.  I think it's the latter.

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.

Dreams of Flying Dreams of Falling

As I was leaving Adam Rapp's new play being presented by the Atlantic Theater Company at the Classic Stage Company's stage while they undergo a major renovation project on their own stage in Chelsea (the show must go on...), I was reminded of a simple little saying that a dear friend of mine and I have been repeating for for  many years now.  It goes something like this:   "You know, , there's something wrong with everyone".   Simple.  Accurate.  Apropos.

Mr. Rapp's obvious distaste for the ultra wealthy, wall street philanderers, and general ostentatious-ness of the wealth and power in the state of Connecticut (or otherwise) could not be more obvious.  Christine Lahti (Sandra Cabot), Reed Birney (Dr. Bertram Cabot), Cotter Smith (Dirk Von Stofenberg), and Betsy Aidem (Celeste Von Stofenberg) form a double power couple tag team of wealthy, disturbed, and simply put, rich assholes, who have ruined their children aptly played by Shane McRae (James Von Stofenberg) and Katherine Waterston (Cora Cabot) - and quite possibly also the lives of countless others in their quest to be "on top".   Mr. Rapp's clever dark comedy allows only a single beam of light and normalcy to shine throughout the play and her name is Wilma (Quincy Tyler Bernstine) and she is the black maid for the Cabot family.

This seemingly innocuous tale starts out to be a simple gathering of old friends for dinner in an opulent home in suburban Connecticut.  It ends up, assisted by Mr. Rapp's bizarre plot twists and scathing dialogue, with two murders (one animal, one human), with a passionate and explicit sexual encounter involving the two children (i saw that one coming a mile away) and the revelation of countess adult indiscretions and numerous crimes likely perpetrated by one or more of the dinner party attendees.  Wilma, the aforementioned black maid to the rich white folk, is positioned as both a physically and economically stereotypical maid but is brilliantly and subtly charged with being the only character who sees past it all and brings a transcendent sense of normalcy to the entire scene.  With this, Mr. Rapp, I was quite impressed.

Now, if only I could stop thinking about those poor geese!

The Submission

Jeff Talbott's new work, The Submission, is a tinder-box of race and prejudice packed into about 100 power-packed, tension-filled minutes.  Walter Bobbie's keen directorial ear lights the match which burns the volatile fuel provided by Jonathan Groff (Danny), Will Rogers (Trevor), Eddie Kay Thomas (Pete), and Rutina Wesley (Emily).

While Mr. Groff may be the headliner and main character (and still, by the way, absolutely adorable) in the Talbott's tumultuous plot, all 4 actors handily contribute to the heat and tension on the stage equally.   Crisp, staccato dialogue, rapid and ascorbic banter, and quick and uncomplicated scene changes contribute to the evening's experience.  Having seen this one at the very beginning of it's preview period, I can say with certainty that it is an extremely all written play and well acted production that can only get even better with age.  Mr. Bobbie in conjunction with Tesley + Company (Casting) are to be applauded for this fine ensemble.  The selection of each actor for his and her respective part is superb - each embodying what i presume is exactly what Mr Talbott envisioned.

No spoilers here.  Just know it will be a provocative evening of theatre that you will most likely carry out of the theatre with you into the streets afterwards.

Completeness

Itamar Moses strikes gold again.  This time, on 42nd Street at Playwrights Horizons with his latest contemporary work, Completeness.  Mr. Moses has demonstrated his contemporary talents several times before off-Broadway in at least two prior shows that I have also thoroughly enjoyed, The Four of Us and Back Back Back.

In this incarnation, Mr. Moses has penned a complex work that entangles our quest for love and relationship with science and mathematics.   Fear not, his clever dialogue is both instructive and engaging - to the point that you begin to think you are going to walk away being able to solve the TSP (Traveling Salesperson Problem, for those of you who might know).

Karl Miller (Elliot) and Aubrey Dollar (Molly) are thoroughly engaging and believable as a pair of slightly awkward, mostly normal, and very intelligent grad students (clothes both on and off) engaged in their respective quests of computer science (Elliot) and biology (Molly) - or is it a quest for everlasting love?   Or both?  Is the answer out there just waiting to be solved for?  Or do you just take the chances as they come and jump in hoping it till work?

One very awkward moment near the end of the play arrives at a time in the play when both the relationships AND the math/science "blow up".  The play literally stops, and two other characters come out and talk to the audience to allegedly "stall for time" while the show takes a technical break to "reboot the board".  Quite unusual - and by a poll of various people who said they knew - it was part of the play - not a real glitch.   Symbolic, perhaps.  Thoroughly distracting - yes.   I wanted to be talking about so many other aspects of the play afterwards but just couldn't leave this "moment" alone.

Death Takes a Holiday

The Roundabout Theatre Company has done it again.  A powerhouse cast, a delightful and lightly operatic score atop a simple and enchanting book are just a few of the rewards that are awaiting audiences at the Laura Pels Theatre this summer.   Death Takes A Holiday is a "breathtaking new musical" inspired by the 1934 romantic drama (play) of the same name.   Elegantly, simply, and ingeniously directed by Doug Hughes, the musical sweeps you off your feet, effortlessly glides thru its paces bringing you on a brief and entertaining journey the Villa Felicita on a lake in Northern Italy in the late summer of 1921.

What makes the journey so effortless and so incredibly enchanting is most certainly due to the cast of characters - which includes, on such a small stage, a plethora of veteran Broadway talent in addition to some fresh, young blood - all perfectly cast in their roles.   Jill Paice (Grazia) pulls you into her heart with her song from the very first moment and refuses to let you go the entire show. Kevin Earley (Prince Nikolai Sirki/Death) quietly sneaks into the picture and sweeps you off your feet.  His flawless vocals packed a punch and quite literally blew the roof off the house.  Of note, Mr. Earley stepped into the role shortly after the original lead, Julian Ovenden, stepped out due to an ongoing throat illness.  The very fortuitous Mr. Earley played the opening night and has done so every night since.

This production doesn't stop with just two top-notch leads.  Supporting these two incredible actors is a cast of other immeasurable talent including:  Michael Siberry (Duke Vittorio) and Rebecc Luker (Dutches Stephanie), Matt Cavanaugh (Major Fenton),  Mara Davi (Alice) and Alexandra Socha (Daisy), Max Von Essen (Corrado) and Linda Balgord (Contessa Evangelina).

The comparison to the juggernaut, Phantom of the Opera, is inevitable, but this show succeeds without all the weight and unnecessary baggage that Phantom brings along with it.  Operatic, yes, oppressive, no.  Hughes injects the story with dashes of comedy, a modern sense of love, family, and frivolity.  A fine example of this clever infusion is the character of Fidele - played to its maximum effect by a quirky and adorable Don Stephenson.

The story, quite simply, is a love story.  Death takes on a human (and quite handsome) role to find out what all this living and loving nonsense is all about.  He, quite literally, takes a holiday from the his daily grim tasks.  As you would expect, he falls in love and what happens next is... well... I think you know.   While Death might be eternal - you only have a limited time to catch it on Broadway - playing now thru September 4th.

Victory: Choices in Reaction

The sub-headline for this post should be "Between Follies".  That's because Jan Maxwell helms this heady, intelligent, no-small-undertaking of a play - in-between her Follies DC run and its transfer to Broadway.  Talk about a busy schedule!

Howard Barker's play is certainly not a run-of-the-mill work.  It takes place in the 1660's in England in the restoration period - which translates to a period when government was in chaos, political ideology was in flux between the economic forces, religious forces, and the old and new aristocracy.  I don't for a minute claim to be knowledgeable on this topic nor do I believe I understood everything going on.  What I do know is that Director, Richard Romagnoli has even further energized this powerful work by adding a rough edge to the production.  Pounding punk music and choreographed moves during each scene change add a dramatic contrast to the subject matter and time frame of the play.  Costumes and makeup add bite and drama to the already heightened tension of the story.

Despite the heady subject matter, the delivery by some of the actors was magnificent.  Of special mention is the stand-out performance by David Barlow who played Charles Stuart, A Monarch.  The monarch's extremely unstable mental state shown thru in Mr. Barlow's dynamic and potent portrayal.  Jan Maxwell seemed to immerse herself in the complex role of Bradshaw, The Widow of a Revolutionary and Steven Dykes equally impressed in his portrayal of Scrope, A Secretary (and several other minor characters also).

While this play might not be for everyone, I find more and more that off-Broadway houses produce such high quality work that while you might not think it your cup of tea, you're drawn in to a story, it's power, and the intimacy of the theatre that you find yourself enraptured, educated, and enthralled.  Next thing you know it's 10:45pm and you're dumped back out on the street wanting more.

Anything Goes

I wanted it to be great.  I really did.  I wanted to walk away from the theater soaking wet - like someone opened a musical theatre fire hydrant all over me in the audience on a hot summer day. Instead, all I got were a few blasts from the sprinkler in each act - all of which wet my leaves, but never got to my roots.

Problem #1 - Joel Grey is mis-cast.  He seemed oddly out of place the entire show.   Problem #2  - The book.  It's utterly stupid.  Stupid books abound, but you gotta compensate somehow.  Problem #3 - Three rousing tap numbers that don't really go anywhere and stand-alone gems do not compensate for the aforementioned problem #2 or #1. I had such high expectations - and they promptly withered and died by 11pm (yes, it's a long show on top of everything else).  

Was Sutton Foster magnificent - absolutely, without a doubt.  She's indeed delicious, delightful and de-lovely!  Her leading man, Colin Donnell, is adorably dashing and debonair and incredibly talented in the song and dance department too. You'll have to wait the entire first act for Anything Goes, the first knock-your-socks-off, full company, full-tilt tap number that brings the house down.  The entire cast is indeed talented and very easy on the eyes, i must admit.  Right after the intermission, you'll get that barn-burner,  Blow, Gabriel, Blow, and then really nothing until the finale.   I especially enjoyed Kathleen Marshall's razzle-dazzle choreography but it felt so isolated and stand-alone-ish.  And I adore John McMartin, but he looked so incredibly lost on the stage all the time.  And sometimes he just disappeared!  There's not much else to report over the rest of the 2H:45M run time aside from a very clever and cute use of a blue spot during Be Like The Blue Bird.  ~Sigh~

Best Leading Actress - No qualms.  Best Musical Revival?  Not a chance.   This ship is more like a row boat in a lake.   I'm going to wait for the concert version with the New York Philharmonic.  Get rid of the story - and focus on all the great song and dance.  Now that would be a ship I'd buy a ticket to sail on!

Voca People

Spaceship crashes on Earth.  Voca People emerge.  They need Ener-gia to power up to get back home.  Moo-see-ca is Ener-gia.  Get it?

Lior Kalfo and Shai Fishman, creators of Voca People,  figured it out.  Crisp, vibrant, simple, and bright colored lights against a black backdrop; Pure white costumes (think blue man group minus the blue) and a musical schtick that's cute and cuddly to accompany some of the best sounds that a human voice can muster doing a cappella renditions of some of our all time favorites over the ages can bring the house down every single night.

Voca People have seemingly been everywhere in the world.  Why they landed at the Westside Theatre is somewhat of a mystery.  But a mystery that will hopefully be spread by word of mouth and before you know it these 10 aliens will be playing Radio City!

The music is all generated by the human voice.  No instruments.  Lots of reverb and adorable alien jibber jabber.   Their act is filled with love and fun but comes with a warning - audience participation - touching, extracting musical genres from audience members' their brains, performing in the aisles,.  The result - toe-tapping, head-bobbing entertainment to the sheer delight of everyone in the audience for just shy of two hours with no intermission.

If Moo-see-ca is indeed Ener-gia - this adorable bunch has got a long term lock on the supply.  Get your fill today.