Showing posts with label off-Broadway. Show all posts
Showing posts with label off-Broadway. Show all posts

Tuesday, September 22, 2009

Fathers and Sons

By Steve

5 POINTS OR LESS
exploration of male roles and relationships • “traditional” and “non-traditional” father/son issues • good discussion material for parents of adolescent males • play within a play • strong performances

BOTTOM LINE: Two actors, one older and one younger, perform six connected scenes exploring various contemporary male relationships including father/son. Fathers & Sons is an earnest attempt to promote mutual understanding between men of different backgrounds, sexual orientations, classes, and generations.

Richard Hoehler has a lot to say about male relationships in his play Fathers & Sons, and he says it with gusto. The play is ambitious and passionate, and has an earnestness that to my mind makes it ideal for family audiences, especially those with adolescent males. Hoehler is an educator who conducts writing and acting workshops for NYC high school students, and you can sense his affinity for teaching in every moment of Fathers & Sons. Parents who are looking for theater that is both entertaining and instructive will find that this play raises tantalizing questions about what it means to be a father, a son, and a man in 21st century America.

Two actors (Hoehler and Edwin Matos, Jr.) portray six pairs of men, each a variation of father/son. Scene by scene, they explore the dynamics of male relationships: power, control, responsibility, abandonment – and love. The scenes are presented as rehearsals for a play called "Fathers & Sons," and the actors seem to be playing versions of themselves. “Richard” is an actor/writer/teacher who has agreed to coach “Edwin,” a talented but undisciplined young man. When Richard gets the chance to present the play to a representative of the Public Theater, the stakes are raised. This is his big chance for recognition in the professional theater. But is Edwin up to the task?

The scenes they perform, while often peppered with humor, take on serious issues of contemporary male identity: a stepfather and stepson compete for primacy in a poor household; a Latino son preparing for college must tell his proud but illiterate father that his presence at an important interview could damage his chance for a scholarship; an acting teacher and his student become sexually intimate only to face unexpected consequences the next morning; a loving but overwhelmed uncle must insist that his learning-disabled nephew move out of his apartment and into a group home; a father who has spent years in prison and who is now dying appeals for forgiveness from his embittered son. The connective tissue is the relationship between Richard and Edwin, fraught with similar tensions. Mutual need forces each to grapple with his understanding of the other man—and himself.

The production is tightly directed by Chris Dolman and both actors give strong performances. Ironically, Hoehler the playwright gives Matos the better roles and material. Richard confesses in the play that he has always been afraid of success and that it’s “easier saving souls in the South Bronx than competing in the Big League” of the New York theater. I was particularly struck by his jaundiced take on the actor’s life, which includes auditions for “don’t-blink-or-you’ll-miss me parts on Law & Order Special Bullshit Unit.” Hoehler is believable in his roles. Matos is truly compelling.

The theme of Fathers & Sons is ageless: how do men learn to express love for each other in a world that seems to demand competitive toughness above all else? These characters struggle to choose love and forgiveness over anger and blame, and for that they--and Hoehler--deserve our praise.

(Fathers & Sons will perform through October 4, Wednesday-Saturday evenings at 8pm and Sunday matinees at 3pm, at the Lion Theatre, 410 West 42nd Street. Tickets are $25 through Ticket Central online at ticketcentral.com or by calling 212-279-4200. For more info visit FathersandSonsOnstage.com)

Tuesday, September 8, 2009

The Pride of Parnell Street

By Steve

5 POINTS OR LESS
poignant story told in monologues to the audience • authentic Irish dialects • brilliant, seamless acting • heartbreak laced with humor • disturbing and moving

BOTTOM LINE: A contemporary Dublin couple relates a harrowing story in alternating monologues. This is theatrical storytelling at its best. You won’t believe that 100 minutes could go by so fast and move you so deeply.

No one does despair like the Irish. Luckily, no one does humor quite like the Irish, either. From Samuel Beckett to Frank McCourt, the great Irish writers deftly express the dual nature of life, mingling tears and laughter almost in the same breath. And their famous “gift of gab” makes them superb storytellers. Sebastian Barry’s new play The Pride of Parnell Street is a compelling addition to the canon.

A man (Joe) lies on a bed as the audience take their seats. Lights come up on a woman (Janet) who begins speaking. Within moments we are spellbound. For this woman is telling us her story. And even if her accent is sometimes hard to understand and her vocabulary full of strange words (the program includes a glossary of Dublin slang) we listen as if our lives depend on it. Because hers seems to. The elements are familiar: poverty; drunkenness; the death of a child; sudden, shocking violence. Despair pervades everything, like the relentlessly falling rain outside the window in the back wall of the set. Yet we find ourselves laughing, listening to this litany of sorrow. We are laughing because, like these characters, we have to. We must laugh or die. Even optimistic, “anything-is-possible” Americans know what it is to dance on the edge of the abyss.

The simple, tragic story unfolds in alternating monologues told by Janet and Joe, a married couple who haven’t seen each other in 9 years. Physically and emotionally separate, each recounts the nightmarish events that tore them apart. Joe has been through drug abuse and prison. Now he lies in a charity hospital, wracked with guilt and regret. Janet is outwardly unscarred. But even she admits, “My heart has never mended neither. I’ve been going about with a broken heart, the whole time.”

Ultimately this play is several love stories. There is the love between Janet and Joe, tested beyond normal human endurance. There is their shared love of Dublin: “We didn’t have much of a life maybe but it was a Dublin life, and every Dublin life is a life worth living, let me tell you.” Finally there is the love of life itself, even when it’s been disfigured by pain and disappointment. In the face of death, Joe rails against the dying of the light: “It’s not like I don’t care, I do care about it. I can’t see how any living breathing person wouldn’t. Because I want to fucking live…I want to fucking live.”

The production is skillfully directed by Jim Culleton, Artistic Director of Dublin’s Fishamble Theatre Company. Except for a few visual flourishes (water figures prominently) he keeps the production simple and focused on the actors. And what actors they are. Mary Murray and Aidan Kelly inhabit their roles so completely that we don’t see acting at all. We see—and hear—life.
Thankfully, Barry finds an authentic way to temper the suffering of Janet and Joe with tenderness, grace and forgiveness. The Irish understand better than anyone that every loving act is a miracle. So is this show.

(The Pride of Parnell Street plays at 59E59 Theaters, 59 East 59th Street between Madison & Park. The show plays through October 4: Tuesday at 7:15pm, Wednesday through Friday at 8:15pm, Saturday at 2:15pm and 8:15pm and Sunday at 3:15pm and 7:15pm.The show runs 1 hour 40 minutes with no intermission. Tickets are $35. For tickets call Ticket Central at 212-279-4200 or online at www.ticketcentral.com. For more information visit www.59E59.org.)

Tuesday, September 1, 2009

A Lifetime Burning (Primary Stages)

By Le-Anne

FIVE POINTS OR LESS
great ensemble • furniture and architecture is another character • a fictional story based on a true story about a woman who fictionalizes her “true” story • more important than the plot, it’s an interesting study in relationships and truth • flashbacks

Jennifer Westfeldt, left, and Christina Kirk in A Lifetime Burning. Photo by Sara Krulwich.

BOTTOM LINE: An interesting, well-told story of relationships, life, and the truth therein. A woman makes up her own story in an attempt to salvage her life.

Have you ever wished you could reinvent yourself? Have you contemplated what your life would be like if only this or that had or hadn’t happened to you? A fruitless wonder...that is of course...unless you succeed. Cusi Cram’s A Lifetime Burning stars Jennifer Westfeldt as Emma, a young, spoiled but troubled woman who decides to reinvent her life and call it a memoir, and Christina Kirk as Tess, her older sister, who calls her out on it. The play opens in a gorgeous, modern, newly decorated loft (thanks to a hefty advance from a book publisher) with a stunned, stuttering Tess berating Emma for her bold-faced lies. From there we learn that truth is stranger than fiction. Loyalty, truth and the questions of normalcy in life are all included in Cram’s compelling story. With excellent performances and expert direction, A Lifetime Burning is a play to ponder.

The plot is loosely based on the real-life scandal of Margaret Seltzer, a woman who wrote a critically acclaimed memoir of her life as a mixed ethnicity gang member in South Central L.A., raised by foster families and gang-bangers. Shortly after its release, Seltzer’s sister contacted the publisher and revealed the entire memoir as fiction. In A Lifetime Burning, Emma is a trust-fund baby who volunteers as a tutor for underprivileged youths. When Emma takes their truths and makes them her own, Tess is outraged, asking Emma what she thinks will happen when everyone discovers the truth? Emma retorts with “What is truth?” An existential conundrum that sends Tess reeling.

Cram’s dialogue quips along and is loaded with observational and social humor as well as depth. For example, at one moment Emma proclaims she is an “alcorexic,” a modern woman who spends her caloric intake drinking alcohol rather than eating, then later she shares the disheartening realization that she can’t even make up a happy ending for herself. Another example is when one character poignantly points out that memoirs became more popular than novels when the American imagination failed. It is Cram’s naturalistic dialogue and keen awareness of not only social modes but human psychology, the ups and downs, that make her characters so well-rounded.

Bringing those characters to life beautifully are the four stellar actors that make up the ensemble. Kirk and Westfeldt are yin and yang in flaxen hair and designer duds. A perfect balance, bouncing off one another, matching but never overpowering until one of them goes in for the win. When Kirk is on fire, Westfeldt is cool. When Westfeldt is teetering, Kirk is as steady as a sniper. While they exhibit anger toward each other, there is a sisterly love that both fuels and quenches the fire of their rivalry.

Rounding out the story are Raul Castillo as Alejandro and Isabel Keating as Lydia Freemantle. Castillo grounds the cast in something more somber and simple. While his character’s upbringing is untamed and represents something the opposite of trust-funds and refined living, Castillo is quiet, solid, and strong. This is a stark contrast to the sisters who although they are as cultivated as can be, yell at each other, have unstable lives, and are fragile even though they hide it quite well from each other. Keating, on the other hand, is as cool as a cucumber. The modern, self-sufficient, epitome of success, she is everything the two sisters wish they were and nothing that they are. Waltzing in like the Queen of England and meaning it, Keating owned the stage with a such a commanding presence that even the designer Zeisel coffee table bowed to her. Her comedic timing is flawless and she brings an underplayed humor to lighten weighty moments.

Director Pam MacKinnon seamlessly weaves between the present and flashbacks within the story. Details such as which wine bottle exists in the present and which wine bottle is a figment of the past are so specific that the dreamlike state of flashback and memory moments are as clean as a dissolve on film, (aided by a beautiful lighting design by David Weiner). MacKinnon’s decision to have the characters remain on stage as they watch the memories unfold is powerful and surreal, while still being grounded in realism. Her pacing is to be applauded. She handles this script with such ease that you forget that there was a director shaping it all because everything was so clean and never seemed premeditated.

A quality production, A Lifetime Burning is a play told by a collaborative team of great storytellers. We all acquire a million stories in each of our pasts that create the memories of life. A life of truth in lies and lies in truth, “half love, half hope, half true” (lyrics from One Less Reason’s, A Lifetime Burning). Each story of the past gives way to the next, creating the moments, maybe even the memoirs, of a person’s life. “All our yesterdays have lighted fools the way to dusty death. Out, out, brief candle,” - but until then, as Cram testifies, it remains a lifetime burning.

(A Lifetime Burning plays at Primary Stages, 59E59 Theaters, Theatre A, 59 East 59th Street between Madison & Park. The show plays through September 5, Tuesday at 7pm, Wednesday through Saturday at 8pm, also Wednesday & Saturday at 2pm. The show runs 1 hour 15 minutes with no intermission. Tickets are $60. For tickets and more info visit www.primarystages.org).

Thursday, June 18, 2009

Hamletmachine (Castillo Theatre)

By Zak
5 POINTS OR LESS
edgy • intriguing • unconventional

BOTTOM LINE: Avant-gard theatre that pushes the envelope and challenges the audience.

Something pretty interesting is brewing at The Castillo Theatre with their newest interpretation of Heiner Muller’s Hamletmachine. The Castillo is one of only a handful of theatres in the country who regularly produces the work of Muller (a protégé of Bertold Brecht) who strived to transform the theatre for a new social use. Hamletmachine, written in 1977 in East Germany, is a postmodernist drama which borrows from Shakespeare, T.S. Eliot, and Jean-Luc Godard and deals not only with the ideas of communism and feminism, but the idea of being trapped in any time or situation.

With only about ten pages of dialogue, the play has been interpreted in vastly different ways throughout the years defying every convention of theatre. Some could argue that a play set at the end of East German communism is a little out of date, but Austrian director Eva Brenner says, “The only way to get rid of the play is to leave it behind, to work our way out of the despair it articulates….brush off the costumes, turn on the lights, look at each other and ask what do we do together next.” Brenner does just that but abandons the conventional interpretation of the play, creating a unique ensemble piece that keeps the audience entranced for a captivating seventy minutes.

So, I don’t usually give quite that much background about a particular play, but I think it’s important for this one. It truly is a theatrical experience that is unlike anything you have probably ever seen. The actors perform throughout the entire theatre space and even greet audience members in the lobby by creating window art that depict people’s perceptions of Hamlet, communism, and the like. There isn’t a “conventional” plot in this interesting piece. It’s more like watching a hip, living modern art instillation. You might not fully understand everything that you are watching, but you will probably be intrigued.

The play has pretty good street cred with a fancy European director and the uber-captivating actress Yap Sun Sun, direct from Vienna. That’s not to say that the Americans in the cast don’t represent as well. Anneka Fagundes, John Boonin, and Melvin Shamby Jr. are particularly engaging and throw themselves into the text with fierce abandonment. You feel like you are watching European protest theatre as it is meant to been watched. While I didn’t love every choice that was made, I did have a true “experience” at the theatre. I was very pleasantly surprised. It’s hard to say more because everyone will take away something vastly different from this play. Some will think it is bizarre, others will flip for it. It definitely is not for everyone. If Mamma Mia is your idea of high art, you should probably skip Hamletmachine. If you like to be challenged at the theatre and see something different, check out this show.

(Hamletmachine plays at The Castillo Theatre, 543 West 42nd between 10th and 11th Avenues,
through June 28th. Performances are Friday and Saturday at 7:30pm and Sunday at 5:00pm. Tickets are $35 with $10 tickets for students and seniors. To purchase tickets and for more info visit castillo.org.)

Friday, June 5, 2009

American Hwangap (Ma-Yi Theater Company and The Play Company)

By Le-Anne

5 POINTS OR LESS
Korean-American Family that all can identify with • if you like stories like "My Big Fat Greek Wedding" you'll like this • solid production • great writing • attention Teenage Mutant Ninja Turtles fans: James Saito, AKA Shredder is in this. You should see this, if for no other reason that to say that you saw Shredder in an awesome play

James Saito and Peter Kim in a scene from American Hwangap. Photo by Matt Zugale.

BOTTOM LINE: A relatable, comedic, drama about an American family looking to be one again.

Every family's got one. One relative. One event. One circumstance. One thing (or some things) that makes it tick and makes it both unique and utterly normal at the same time. In American Hwangap, new playwright Lloyd Suh illustrates the dramas of a typical American family through a specifically Korean celebration but creates a story that everyone can identify with. This production of American Hwangap, produced by Obie-award-winning companies, The Play Company and Ma-Yi Theater Company, is simple and touching with a sense of humor.

The play centers around the return of an absent father on his Hwangap. Hwangap is the Korean expression used to recognize one's 60th birthday. Before the birth of modern medicine, not many people lived to see their 60th birthday so it is a celebration of a long life. It also marks the end of the zodiac, completing the circle of one's life and the rebirth of another life within one's life. For Min Suk Chun (James Saito) it is a chance to begin his life again, with his family in America. Min Suk left his wife and three children in suburban Texas fifteen years ago to go back to Korea, something that has deeply affected his wife and children in very different ways. His homecoming is bittersweet as are his relationships with his family members.

A soft accent and subtle moments lost in translation abound but doesn't overpower this story. Saito is honest, never gimmicky, in his portrayal of the returned immigrant. He has a charming way of inserting profundity to the simplest of observations. During along overdue father/son moment with his youngest, Ralph (Peter Kim), Min Suk, referring to a video game that Ralph broke in anger earlier, shares "I think these objects have it coming to them." Saito's comedic timing is perfect and he delivers moments like this with such simplicity and honesty that one is sure that Suh has hidden pearls of wisdom somewhere in there.

Suh's voice is modernly poetic, colloquial, and humorous. Within exchanges of dialogue that seem light an inconsequential he hides some of life's deepest stuff. In one particular poem about a puppy which Ralph, a 29-year-old, slightly imbalanced, science fiction poet still living in his mother's basement, reads from his journal, he describes the sweetness, cuteness, and loyalty of this puppy then concludes, "he licked my hand. And then he pooped." Fantastic. Kim's handling of the tricky character of Ralph is smart and wonderfully delicate.

Director Trip Cullman's pacing is spot on, as are his choices. There are several moments in the play that could be played either as jokes or as weighty, poignant moments - Cullman struck an excellent balance. Cullman's staging is simple, making great use of the minimalist set (Erik Flatmo). The ensemble is solid. Each actor brought something very specific to how his/her character fits into the family as well as how they don't fit together. The family dynamic created on stage is interesting to witness, and maybe even recognize, at times.

American Hwangap presents a family story that is relatable and real. A story full of hurt and laughs, with a lot of issues made simple, and a lot of simple things made into issues. It is about one American family with a hope of repairing mistakes made, and maybe even the chance at a new beginning.

(American Hwangap performs at The Wild Project, 195 East 3rd Street, through June 7th. Tues.- Sat. at 8pm; Sat at 3 pm; Sun at 4pm. The show is 90 min.'s with no intermission. Tickets are $25 and can be reserved by calling 212-352-3101. Discount tickets available at http://www.blogger.com/www.broadwaybox.com. For more info visit www.playco.org and/or http://www.blogger.com/www.mayitheatre.org.)

Friday, May 29, 2009

Pure Confidence (59E59)

By Natasha

Pure Confidence
is what a night at the theater should be! This play is entertaining, thought-provoking, and thoroughly engaging. You will laugh, cry, and even learn some American history. Playwright Carlyle Brown, tells the story of Simon Cato, a talented African-American jockey that dominates the race track, and his complicated relationship with his owner, Colonel Wiley Johnson before and after the Civil War. Brown skillfully delves into the complexities of slavery and explores the meaning freedom; his in-depth characters and unwillingness to make things simply black and white are what make this play so successful.

The ensemble of incredibly strong actors is phenomenal...there is not one weak link. Gavin Lawrence is perfectly cast as the sassy and confident Simon Cato. Christina Clark is wonderful as Caroline, the love interest of Cato; she has a beautiful voice and elicits tears from the audience as she speaks about the experience of being a slave to her former owner. Karen Landry is exceptionally delightful with her Southern charm and manipulation as Mattie Johnson, the wife of Colonel Wiley Johnson. Chris Mulkey actually makes us feel empathy for a slave owner as the Colonel. In addition to amazing acting and a strong script, Joseph’s Stanley’s set is absolutely gorgeous and the transformation from Act I to Act II is breathtaking. With the combined talents of Brown’s writing, the actors’ commitment to multidimensional characters, and Marion McClinton’s creative and riveting staging, this production is a definite success. The night I attended, the actors received a standing ovation. No longer hesitate, go buy your tickets now!

(Pure Confidence plays through July 3 at 59E59 Theatres, 59 East 59th Street between Park and Madison Avenues. Performances are Tuesdays at 7pm, Wednesday through Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 2pm and 7pm. Tickets are $45. Tickets are available at ticketcentral.com or by calling 212.279.4200. For more info visit 59E59.org.)

Monday, May 25, 2009

Our House (Playwrights Horizons)

By Le-Anne
5 POINTS OR LESS
great humor • great performances • some adult language, sex and violence • draws from the corruption of the media, news, and reality TV • great writing

Stephen Kunken, Morena Baccarin, Christopher Evan Welch, Haynes Thigpen and Jeremy Strong in Our House. Photo by Joan Marcus


BOTTOM LINE: Rebeck creates a funny, strong comment on society without being overbearing or preachy.

Flip on the news and all too often reporters from competing networks will outright contradict one another, so one can’t help but wonder “What are the facts here?” or worse, they spend hours on an inane story about someone’s infidelity, as if we care, when there are injustices and wars going on in the world. On the flip side, entertainment is reeling with “reality” TV that clearly lists teams of writers in the closing credits at the end of each episode. I’m sorry, I don’t know about you, but I’m a “real” person, living a “real” life, and I have no team of writers handing me a script every day so that I can live in “reality.” Nowadays the line between entertainment and news has never been so blurred...or dumbed down.

On this topic, Theresa Rebeck does not hold back in her new play Our House. This biting comedy challenges what today’s television and news has become and its effect on society. Rebeck does a better job of capturing what is “real” than reality television or the news ever will. She lashes out at modern media with unmatched wit and an honest, observational humor that is spot-on. She creates characters that you love to hate (or hate to love) and creates a feeling of suspense and drama within this boundary breaking comedy.

Christopher Even Welch deliciously facilitates Rebeck’s glib dialogue as Wes, a cocky, self-assured, self-important head honcho of TV network, SBS. Even though he is the bad guy in the story, he somehow manages to be the most likable. Morena Baccarin plays Jennifer, the news anchor who will do anything to get ahead in her career and you pretty much just want to punch her in the face. Baccarin never betrays Rebeck by commenting on this asinine, annoying, and supremely egocentric woman but rather plays her to a T.

Meanwhile, Merv, pricelessly played by Jeremy Strong, is obsessed with Jennifer who is the new host of his favorite reality TV show, Our House. Alice, vigorously portrayed by Katie Kreisler, can’t stand reality TV (or any TV for that matter) any more than she can stand her housemate, Merv, who seems to delight in doing things like eating Alice’s special yogurt and not replacing it. The drama in the house ensues as Alice organizes a house meeting to try to evict her TV-addict, couch potato, yogurt-stealing nemesis. Rebeck uses these two characters to show the polar opposites that our media-crazy society has created. They are both intelligent people with different extremist points of view which make them both ignorant in their own right and, like Jennifer, punch-in-the-face-worthy. Finally, worlds collide in a bizarre twist that brings the real house, Our House, and the news together.

Award winning director Michael Mayer (Spring Awakening, Side Man, A View From the Bridge) exhibits his prowess as he masterfully and seamlessly stages scenes between the house and the newsroom. He dictates a pace that moves at the speed of modern language and creates a suspenseful thriller in the midst of laugh-out-loud antics. Together, Mayer and Rebeck have mastered a genre that is comedy but not tomfoolery, drama but not sentimental, politically and socially minded but not pretentious.

Rebeck’s characters are so interesting in the fact that they are all irritating individualists (with the exception of Stu, ably played by Stephen Kunken, who is basically the only character with a level, unselfish head on his shoulders and perhaps the reflection of what we, the audience, all hope we are for fear that if we’re not we may be like Wes, Jennifer, Alice or Merv). And yet these obnoxious characters all have something to say that’s worth listening to, you just have to weed your way through their egos first. Talk about holding a mirror up to society! Ms. Rebeck, I think you’ve got the twenty-first century’s number.

(Our House is currently in previews at Playwrights Horizons/Mainstage Theater, 416 West 42nd Street. Official opening night is slated for June 9th and it closes June 21st. Performance times are Tuesday through Friday at 8pm, Saturday at 2:30pm & 8pm and Sunday at 2:30pm & 7:30pm. Tickets are $65. Discounts on HOTtix available. $20 rush tickets, subject to availability, day of performance only, starting one hour before showtime to patrons aged 30 and under. Proof of age required. One ticket per person, per purchase. Student rush is $15 per ticket subject to availability, day of performance only, starting one hour before curtain. One ticket per person, per purchase. Valid student ID required. Tickets available at the theatre’s box office and through ticketcentral.com, or at 212.279.4200. For more info go to playwrightshorizons.org/mainstage).

In addition, special Post-Performance Discussions with members of the cast and creative team will take place immediately after the following performances: Wednesday evening, May 27 at 8PM and Sunday matinee, June 7 at 2:30 PM.)

Monday, May 4, 2009

Offices (Atlantic Theatre Company)

By Molly
5 POINTS OR LESS
three short plays • brilliant cast • consistently chuckle-inducing • high-quality production value • written by Ethan Coen (of film duo the Coen Brothers)

BOTTOM LINE: A witty and entertaining 80 intermission-less minutes. It doesn't leave you with much to think about after, but sometimes amusing escapism is quite enough.

Offices is a new play by esteemed screenwriter Ethan Coen (who, with brother Joel, has penned Fargo, The Big Lebowski and No Country For Old Men, to name a few). The Coen Brothers' movies are usually action-packed funny dramas, with a tendency toward absurd, character-driven plots involving average folk. Put Ethan's playwriting skills to the test and it seems that he retains much of that intent for the stage. Offices is about the banal existance of people who work for the man and the inane antics that can come with it.

Always relatable and often exaggerated, Offices takes the audience through three different stories, all involving people in an office setting. The cast of 11 play one or two characters through the evening, although there is never any plot or character overlap through the three plays; each play stands on its own with its own inside jokes and nuanced circumstances. But the consistent theme of idiocy in the workplace rings through all of the plays. The characters just want to be respected for their work (Elliot in Peer Review), find justice after getting fired (Beck in Struggle Session) or simply find their briefcase (Munro in Homeland Security). And it's with these situations that we can all relate, especially those of us who have previously worked in a cube farm.

Offices is all in all a successful night of entertainment. I'm pretty sure I giggled through the entire 80 minutes, although I'm not sure I guffawed more than once or twice. The play's strength is in the cast and the actors' understanding of Coen's (and director Neil Pepe's) message. Many of the actors in Offices shared a stage in Coen's last theatrical endeavor, Almost An Evening, which played at both Atlantic Theatre Company as well as the Bleecker Street Theatre last year. Almost an Evening was structurally similar to Offices; it also consisted of three short plays and utilized its cast for more than one play. Unlike Offices though, Almost An Evening didn't have an overhanging theme which tied the production together. But it was, in many ways, more clever and wittier than Offices (I was a huge fan of Almost An Evening, you can read my review of the show here).

Truly, the cast of Offices is fantastic. Standouts include Joey Slotnick, F. Murray Abraham, Aya Cash and John Bedford Lloyd, although it's really unfair to pick and choose since all actors are perfectly cast in their particular roles and work cohesively with one another. And they all get Coen's intelligent yet understated humor to a tee. Plus, you can tell they're having a freaking great time up there, and it's always fun to watch actors enjoying themselves. Although I assume that F. Murray Abraham would be an entertaining bum even if the actor was having a bad day, it was still a delight to watch him enjoy the company of his peers onstage.

So with a stellar cast and a witty script in the vein of The Office, or Office Space, or even American Dad at times, this play is one worth your time and money. I didn't walk away from the experience with anything other than a general sense of contentment, having been entertained for a good while, but sometimes that's enough. And it's certainly more gratifying than having lessons or opinions shoved down your throat. Coen understands the humanity that connects us all, and it's through those stories and exaggerated scenarios that we can all share the joy that is live theatre (before we have to go back to our respective day jobs, that is).

(Offices plays through June 7th at Atlantic Theatre Company, 336 West 20th Street between 8th and 9th Avenues. Performances are Tuesday through Friday at 8pm, Saturday at 2pm and 8pm, and Sunday at 3pm and 7pm. Tickets are $65...buy them at ticketcentral.com. Use discount code PLAYOFF and get tickets for $49.50. For more show info visit atlantictheater.org.)

Thursday, April 2, 2009

Our Town (Barrow Street Theatre)

By Scott
5 POINTS OR LESS
minimalist • moving • engaging • all elements come together perfectly

BOTTOM LINE: Less is sometimes so much more.

Our Town is one of those plays that bears the sometimes unfortunate burden of superlatives. All too often, I have found, that expectation has out-shined actuality. I began to wonder if the play was really as good–if it really was as simple and as profound and as simultaneously singular and universal–as legend would have you belive. My curiosity was borne out of productions that simply did not reveal to me all the wonder I had been told this play possessed. And then I went to see the current production playing at the Barrow Street Theatre, and all my concerns melted away in about three minutes.

David Cromer’s magnificantly realized production literally and figuratively strips away all the excess and distractions that have plagued so many productions and in so doing sets free all the beauty and wonder of this play. It is so simple really. You have a great play as your foundation. You hire a group of talented, committed actors and a director that, for lack of a better term, “gets it,” and then get out of the way. Let it do the work for you. Impose nothing on it, just tell the story and let the play speak for itself.

For the first time I understood, viscerally as well as intellectually, what Our Town is about. It is about everything. It is about common people living common lives doing common things experiencing common emotions and doing it with their family and friends around them. It is, quite simply, about all of us. About the universality of our emotions and experiences. About the beauty of love and the temporary and transitory nature of life. About our desire to understand more than we can see and to hold on to things that we must let go. It is about our basic desire to know and to understand why. And accepting that we probably won’t ever really know.

Every aspect of this production is fully engaging, literally involving all the senses. The theatre is set up as a black box so that the audience sits on three sides. The set is two small dining room tables with chairs set around them. That is it. Everything else must be filled in by your own imagination. The house lights do not dim when the play starts, because, metaphorically, the lights do not dim when your life starts. Each piece of the puzzle has been so well thought out, and executed so subtly that audience members are invited to participate in the telling of the story by filling in all the lines in their own head. And it happens so naturally, without ever giving it a second thought. This, to my mind, is theatre at its most valuable and rewarding level.

All of this would not work as brilliantly as it does were it not for, as mentioned, director David Cromer (who also plays the Stage Manager) and his amazing, amazing cast. They were all so fantastic that I hate to mention anyone in particular for fear that it might suggest an heirarchy in my mind (which there isn’t), but at one point during the scene between George Gibbs and Emily Webb when they discover they are in love I actually forgot I was watching a play. Because I was watching life.

(Our Town plays at the Barrow Street Theatre, 27 Barrow Street. Performances are Tuesday through Friday at 7:30pm and Saturday and Sunday at 2:30pm and 7:30pm. Tickets are $69 or $40 for onstage seating and a limited number of $20 student rush tickets are available at the box office day of. To purchase tickets visit smarttix.com. For more info visit ourtownoffbroadway.com.)

Above photo is David Cromer as the Stage Manager. Photo by Carol Rosegg.

Thursday, March 26, 2009

Gaugleprixtown (Kirk Theatre)

By Dan
5 POINTS OR LESS
inspired by true events • a sometimes muddled mixture of realism, make-believe, and surrealism • short! (only an hour) • does not pander to the audience • subtle and small

Photo by Aaron Epstein.

BOTTOM LINE: Potentially confusing, but if you’re interested in subtle new work it is worth checking out.

If you go into Gaugleprixtown knowing nothing about the show, you might find it extremely confusing. I heard several men remark to each other afterward “I didn’t understand that at all.” And my partner, seeing the ad for the show in the lobby afterward, said “oh, that explains a lot. I wish I had seen that earlier.”

So while I’m not sure understanding a show should depend on reading press about it, here is the text of the ad. "A True Story. London, 1993. Two 11-year-old boys abduct, torture, and murder a three-year-old, abandoning the body along railroad tracks. The crime becomes instantly legendary. Eight years later, the boys, then men, are released into society, with new identities and a court order never to contact one another again. Inspires an Award Winning Drama. Massachusetts, 2009. Drifting in a rowboat, their chilling past rising to the surface, “Richard” and “Adrian” meet for the first time in 15 years."

Given this, how was the show? Gaugleprixtown is somewhat of a challenge to audiences, which is both good and bad. I liked that I was not hit over the head by the script–even knowing the basic premise of the play, there was a lot that was still vague. Part of this is because Andrew Muir, the playwright, and David F. Chapman, the director, create a somewhat dream-like world in which you are never quite sure what is real and what is make-believe. The characters are both men, but men defined by their childhoods–are they reliving (or even reenacting) their youth, or are they speaking to each other as adults? The two men spend a lot of time telling stories and playing games, and it isn’t always quite clear that this is what they are doing. But sometimes, their playing make-believe seems to become real, as with the appearance of Lucy, the girl they apparently murdered when they were children.

Overall, I think there is a lot of potential here, but I think the script and direction could still be clearer. It seems that Muir and Chapman did not want to make the play too didactic–they did not want to create a simple, realistic play about what happens when the two men meet each other again. They are going for subtlety, which I love. But the material is so subtle it sometimes gets confusing. For example, the play does not show the men greeting each other for the first time after so many years; the play begins with them together in a boat. Unless you have read something about Gaugleprixtown beforehand, you have no idea these men have not seen each other in years, or that they have been forbidden from meeting, or that their identities have been changed, or that they killed a girl when they were kids. It is all hinted at in the script, but it is still hard to be sure who these characters are.

However, while Gaugleprixtown is not a purely realistic drama, it is also not purely surrealistic or absurdist, and I think this uneasy mix of styles is what makes the play suffer. Maybe Muir and Chapman are trying to do too much here–the characters are already complex, and to tell their story through a mix of styles, one in which it is often unclear what is happening, hurts the play. If they had gone even more surrealistic, and let the audience know early on that they were not watching a strictly realistic play (especially since nowadays, that is what theatre audience are used to), I think Gaugleprixtown would be less confusing, but no less interesting.

Gaugleprixtown has some great design elements, most notably the set and lighting. The entire play takes place in a small boat, and the designers manage to create a boat that moves up and down in the water amidst greenery and trees, with light rippling on the water. The sound design also does a lot to evoke the dream-like quality of the piece. The design contributes a lot to this play, and given the small size of the stage and the equally small size of the budget, I think the designers (Martin Andrew–scenic, Peter Hoerburger–lighting, and Sharath Patel–sound) are especially to be commended.

The actors are more uneven. The two men have a difficult job–how does one play a grown man who committed murder when he was a boy? How far below the surface is one’s memory of this crime? How much is one affected by it? Muir has written characters who seem to have been affected differently, but I think Tony Roach as Adrian does a much better job with the complexity of his character. I think part of the reason this play is so potentially confusing is that Richard, as played by Kurt Uy, just does not seem to be someone who has ever committed a gruesome murder, or even someone who has shoplifted. Finally, Devon Berkshire plays Lucy, the girl who was murdered. When she appears, the play definitely shifts in tone, and while I enjoyed her performance (her reenactment of the crime is quite chilling), Berkshire seems to be in a different play that the two men.

All in all, I would recommend this play to audiences who are looking for challenging theatre, those who like subtlety, and those who are tired of being pandered to by theatre that is “easy.” This is not a piece for those looking for a fun night out, or for those who need to understand everything they see the moment they see it. But if you’re willing to risk a little confusion, and enjoy seeing new work, Gaugleprixtown is worth checking out. But I’d suggest reading the program notes before it begins.

(Gaugleprixtown plays at the Kirk Theatre at Theatre Row, 410 W. 42nd St., through April 4th. Performances are Wednesdays through Saturdays at 8 PM and Sundays at 3 PM. Tickets are $18, available at 212-279-4200 or online at ticketcentral.com. For more information visit stu42.com.)

Tuesday, March 24, 2009

1984 (59E59)

By Ben
5 POINTS OR LESS
technically spectacular • very cool staging • small, engaging theater • sit in the second row if you have a bag • bright lights and loud sounds, but not excessive

BOTTOM LINE: A visually and technically engaging adaptation of George Orwell’s classic novel with some very cool scenes.

Big Brother is watching you. Winston Smith is rebelling. “Down with Big Brother”
is a dangerous thought and an even more dangerous thing to say. In this world, newspeak has replaced our old vocabulary of expressive words and is now affecting our society's behavior. Winston has caught on. That’s the way they want it. Dare he choose to act out of order or think for himself? Remember, Big Brother is watching you.

So then, who is Big Brother? The Godlight Theater Company presents 1984, Orwell’s classic story, on stage in an intimate, chilling atmosphere. The audience surrounds the stage only 2 rows deep as we observe Winston’s struggle to live in the new world. News reports come in and go away, colleagues come and go and our experience is almost that of being Big Brother ourselves, seeing it all with no escape for anyone.

The 80-minute play is intense and practically in your face. The lights and sounds are loud and bright, but done with precision without being excessive. The adapted story was intriguing and the actors generally do create engaging scenes. There are many creative risks on stage through director Joe Tantalo's clever staging. More often than not it pays off. A few things had me scratching my head afterwards, but overall there were many neat moments.

I did catch this production in previews, so that could be why some scenes didn’t grab me as much as I would liked them to. It may change when the show officially opens next week. The adapted story, overall, was presented well. Some scenes and theatrics were lost on me, but as I write this the day after seeing the show, many of the images still stick in my head as I process what I saw.

If you are a fan of the story then you should definitely go see this classic novel on stage. The Godlight Theater Company does some awesome staging and the light show alone is worth the price of admission. If you think the concept is interesting, you’ll probably dig it.

(1984 plays at 59E59 Theatres, 59 East 59th Street, through April 19th. Performance times are Tuesday at 7:30pm, Wednesday through Saturday at 8:30pm, Saturday at 2:30 pm and Sunday at 3:30 pm. Tickets are $25, available at 212-279-4200 or online at ticketcentral.com. For more information visit 59E59.org.)

Saturday, March 21, 2009

The Unseen (Cherry Lane Theatre)

By Molly
5 POINTS OR LESS
a great script by distinguished playwright Craig Wright • dark and sort of funny but not really a comedy • intense • graphic and very violent
Stan Denman and Steven Pounders in The Unseen.

BOTTOM LINE: An interesting story performed quite well. For those who enjoy a dark tale about two very human guys.

Craig Wright is best known for his work as an Emmy-winning writer of tv dramas like "Six Feet Under" and "Brothers and Sisters," although he is also a notable playwright. Wright is a pro at creating realistic characters in extreme circumstances; they're not always likable, but they're always believable. These people are flawed because they are human. In Wright's The Unseen, now playing off-Broadway after runs in Dallas and at the Humana Festival in Louisville, he introduces the audience to two men trapped in a nondescript prison for unclear reasons.

Wallace and Valdez are jail neighbors with only one cell in between. They talk to each other all day for the company and also to keep their minds sharp. They don't know why they are imprisoned and no one will give them any information, although they've been in jail for 9 years. Still, they are hopeful they will get out soon. The play never reveals where they are, although their guard, Smash, appears to be American. So Wallace and Valdez spend their days in seclusion, save for the communication with each other, and the occasional trip to the torture room where Smash beats the crap out of them for undisclosed reasons.

The Unseen is really a study of a person's resiliance under extreme conditions. With Wallace and Valdez we see incredible perserverance even when it doesn't seem they'll ever be rescued. With Smash, we see how his job as an abusive thug wears on his conscience. And since the play gives little detail about these men and little back-story about why they are imprisoned, all the audience really knows is how these three characters cope...how they adjust to their struggle when the situation becomes more dire.

With intensely intimate portrayals, Thomas Ward (Smash), Steven Pounders (Wallace) and Stan Denman (Valdez) shed light on these guys at a personal level. The fact that we don't have any preconceived knowledge about their characters provides a blank slate on which to observe their present situation. And Wright's script is delicately written. The dialogue is funny at times, but the severity of the reality is never forgotten. The Unseen provides an intense 90 intermissionless minutes.

If the subject matter intrigues you, check out The Unseen while you still can (it closes on Sunday, March 29th). It's a little unsatisfying to be completely unaware of the details though, and as a result the stakes don't seem quite as high...I must admit I wasn't as grabbed as I wanted to be by the intensity of the plight. But Wright is an incredible playwright, and these characters are written with a realistic and human touch. It's an interesting character study to see how they deal with their circumstances.

(The Unseen plays at the Cherry Lane Theatre, 38 Commerce Street off 7th Avenue, through March 29th. Show times are Tuesday through Sunday at 8pm, Saturday at 2pm and Sunday at 3pm. Tickets are $46 and are available at telecharge.com. For more show info visit unseentheplay.com.)

Thursday, March 19, 2009

The New Hopeville Comics (The American Theatre of Actors)

By Le-Anne
5 POINTS OR LESS
very rock opera • several stand-out voices • comic book style • pretty darn funny • some F-bombs and adult relationships, I’d recommend a 16 and up crowd

Villains Sex, Drugs and Rockenroll capture a Hopeville citizen in The New Hopeville Comics. Photo by Jacquelyn Terhar.

BOTTOM LINE: An entertaining rock opera that is a laugh-out-loud good time and has an interesting message.

Hollywood has capitalized on the big box office pull of comic books and graphic novels with movies like “Watchmen,” “Fantastic Four” and “X-Men,” but now with productions like off-Broadway’s The Toxic Avenger and Broadway’s upcoming Spider-Man in the works it seems the great American musical is hopping on board. Riding the front of that train are Nate Weida and Sarah Donnell with their rock opera, The New Hopeville Comics. With an original story, a powerful score and a stellar cast, this is a must see.

Upon entering the theatre one is immediately transported smack dab in the pages of a comic book. A haze blankets the house and giant, chromatic letters spelling “Hopeville” snake their way across the stage. An overgrown, cartoon-like television set, brightly outlined door frames and floating street lamps dot the set. The essence of this comic is brought to life by set designers Steve Royal, Justin Ansley and Grace Baxter. Though Hopeville has a comic book flair, unlike the aforementioned shows it is not derived from an existing graphic novel. In fact, after visiting the show's website, it looks as if this musical has inspired an upcoming comic book.

The story is set in Hopeville, a Pleasantville type town where everything is perfect...it never even rains, thanks to the town’s resident hero Perfect Man (Chris Critelli) who chases away all things bad and unpleasant. Then, when Perfect’s heart is broken, he loses hope and thereby loses his strength, allowing the villains Sex (Terren Wooten Clarke), Rockenroll (John Bennett) and Drugs (Carl Conway Maguire) to kill him and easily overtake Hopeville. For the first time, Hopeville is left unprotected and it begins to rain. Lighting designer David A. Sexton manipulates beautiful diagonal streaks of light to create a comic book rain shower effect.

Weida’s music and lyrics are a driving force that propel this story with sounds gleaned from classical operas, traditional musical theatre, '60s and '70s rock, jazz, contemporary pop artists and even a little calypso. Like Pete Townshend and Sir Andrew Lloyd Webber, Weida creates a diverse musical storytelling not only with lyrics, but with musical phrasing, rhythms and underscoring that could stand alone as a rock opera album. While Hopeville’s sound is very different from Tommy or, say, Jesus Christ Superstar (it’s almost a cross between the two), it’s epic story telling is similar in structure. It’s also similar in that some places the story gets a little muddy but is saved by musical themes that are repeated throughout to create coherency. But hey, if Townshend and Webber can do it, so can Weida. The music is spirited enough and the performances are passionate enough that the holes in the story just don’t matter.

The message in The New Hopeville Comics rings more true than perfect: life isn’t neatly tied in a bow but it does bravely go on. This production has a whole lotta laughter and a whole lotta talent. Though the citizens of Hopeville may be without a hero, they will be with hope again and, damn it, there will be music.

(The New Hopeville Comics plays in the Chernuchin Theatre at the American Theater of Actors, 314 West 54th St., between 8th and 9th Avenues. It runs through March 28th: Monday, Tuesday, Thursday, Friday and Saturday at 8pm and Sunday at 3pm. The show is 2 hours with one 10 min intermission. Tickets are $25, $15 for students available at 212-352-3101 or at TheaterMania.com. For more info visit newhopevillecomics.com.)

Monday, March 16, 2009

Schooling Giacomo (New York Dramadies Company)

By Le-Anne
5 POINTS OR LESS
heartwarming story • flashbacks • drama with many laugh-out-loud moments • great cast • solid production

Kevin Trotta as Mr. Fanuchi and Hugh Scully as Jake Montalto in Schooling Giacomo. Photo by Rick Klein.

BOTTOM LINE: “What’re ya gonna do?” “Fugetaboutit!” and “Thank you for coming.”

In the summer of 1970, a young Bronx boy learns the lessons that will make him the man he is today. Playwright Richard Edwin Knipe, Jr., glides back and forth between the past and the present in his entertaining drama, Schooling Giacomo. With flashbacks, funny but true stereotypes, and a talented cast, this humorous and heartwarming tale is a show worth seeing.

When the play opens with a scene from the past, the lovable Mafioso Vukey Fanuchi, (Kevin Trotta), educates a young Jake (ably played by young actor Jordan Adelson) that Giacomo is really Italian for James not Jake. The young boy is taught what days are best to go to confession–Thursday night, after 6 o’clock so the Father has time to digest and never on Friday night because that is when Monsignor Riley is in the confessional, and never confess your sins to an Irish priest! Moments of sincere bigotry like this are confronted with a witty hand throughout the play. The play then fast-forwards to a grown-up Giacomo, skillfully portrayed by Hugh Scully, who is raising his sickly daughter Abbey (Alanna Heraghty) by himself. Then again, maybe those lessons learned almost forty years ago are helping Jake raise his daughter more than he knows. The play continues in this fashion, with one moment from one scene inspiring a memory or a leap in time to the next.

Trotta is genuine in his portrayal of a classic Italian stereotype. Anyone who has an older immigrant family member, for whom English is not there first language, Italian or otherwise, will identify with Trotta’s performance and Knipe’s use of malaprop as well as an old-world code of conduct for this character. Completing the stereotype of the quintessential, loudmouthed, know-it-all, “fugetaboutit,” Italian-American family in New York are Jake’s uncles Dominic, (Andrew Lionetti), Charlie (George Petkanus), and Joe (Rick Apicella).

Lionetti is Larry to Petkanus and Apicella’s Moe and Curly as this comic trio commands every scene they are in. Rolls of laughter flooded the house as Charlie and Joe argued over “shit rye bread” from competing neighborhood diners and a particular type of “napkin” being the catalyst for a neighbor’s adultery, while Uncle Dominic does his best to guard young Jake’s ears from such inappropriate language and subjects. In a climactic moment in the play, and Jake’s life, the three uncles come together with Mr. Fanuchi in a scene that is as gripping as it is gut-busting.

Jake’s lessons may begin with the death of his father and then witnessing his Irish/German-American Mother Irene (Robin Peck) deal with alcoholism and her abusive boyfriend Pete Murphy (Kevin Nagle); they even include a street-guide practicum from unlikely teachers and a message from the grave by way of The Beatles' last album ever recorded, but they end with a lesson from the greatest teacher of all: life. Schooling Giacomo will not only will keep you highly entertained but you may just a learn a thing or two about what is important in your own life along the way.

*Note: This show was reviewed on March 13. The role of Vukey Fanuchi was played by Kevin Trotta, Giacomo (Young Jake) by Jordan Adelson, Dominic by Andrew Lionetti and Irene by Robin Peck. The above roles are double cast. On alternating nights, they are played by Joe DeSpirito, Justin Adelson, Glenn John Arnowitz and Marian McCabe, respectively.

(Schooling Giacomo plays at the American Theatre of Actors, 314 W. 54th St, between 8th & 9th Avenues. The show runs 2 hours with one 10 minute intermission. Performances run through April 26th, Thursday through Saturday at 8pm and Sundays at 2pm. Tickets are $35 and can be reserved by calling 888-220-6284, or by visiting www.schoolinggiacomo.com)

Sunday, February 22, 2009

Distracted (Roundabout Theater Company)

By Ben

BOTTOM LINE: If you loved Sex and The City, see this. If you hated Sex and the City...see this anyway. It’s poignant, funny, engaging and one of the best pieces of theater I’ve seen in a while.

Cynthia Nixon headlines Distracted, a compelling and entertaining play with a strong cast and smart production. This play asks the question: what the heck is going on today with all this technology, these so-called experts and how we are living our lives?

We take in so much information, but how do you know what information is accurate? What if an expert tells you that your child has behavioral problems? Should you drug your child? Is your child really just being a child? Whose advice matters and where is it coming from anyway? What does it all really mean to who we are as people? Does all this information really help us connect to what’s going on around us? These are the kinds of questions that come up in Distracted.

The acting is fantastic. The set is brilliant and something I’ve never seen before on stage. The writing is smart and funny. It seems that the cast enjoys the show and the audience does too. Ultimately though, it's the material and experience you have in the theater that is worth the price of admission. And that is something you can’t always say about theater these days. This show is made for the theater; it isn’t some movie on stage or play that also works on the screen. It's a brilliant new play that's worth unplugging for.

(Distracted plays through May 10th at the Harold and Miriam Steinberg Center for Theatre, 111 West 46th Street between 6th & 7th Avenues. Performance times are Tuesday through Saturday at 7:30pm and Wednesday, Saturday and Sunday at 2pm. The show runs 2 hrs. 15 min. with one intermission. Tickets are $70...or $20 if you are under 35 and a member of Hiptix...hiptix.org to join for free. For tickets visit roundabouttheatre.org.)

Wednesday, February 18, 2009

White People

By Leah
5 POINTS OR LESS:
• well acted • suffers from writing flaws • not terribly surprising

BOTTOM LINE: Interesting but not necessarily moving.

So I'm trying to figure out why I didn't have a stronger reaction to this show, why I didn't come out of the theater viscerally affected.

White People
, written by J. T. Rogers, explores the minds and hearts of three, well, white people through a series of intertwining monologues. First there's Alan Harris, a New York history professor, played by Michael Schulman. The character is earnest and likable, brimming with liberalism, and Schulman brings that to the table in spades. The climax of his character's arc, however, a recounting of an assault and his subsequent reaction, falls a little flat. When you hear him tell his story, yeah, it's disturbing, but it's also really easy to tell that that's what it's supposed to be. It feels sort of like a big neon sign asking, "Isn't this awful and complicated and thought-provoking?" But the truth is, I've seen those complications before, and the character, as he's written, doesn't really illuminate any new bit of humanity in them.

Next we meet Mara-Lynn Doddson, the former homecoming queen turned nobody. The character is a bit of a stereotype - working class girl, missing her former glory, but Rebecca Brooksher plays her with sincere and grounded vulnerability. Though there are some moments which seem pushed, Mara-Lynn's life (which revolves around a rather deadbeat husband and a mentally handicapped son) escapes the maudlin and generally lives in an organic and sypathetic place. The character is perhaps a little too well-spoken for her station in life, an interesting note for a play where one of the primary focuses is how language colors our perception of one another.

The most surprising character is probably Martin Bahmueller (played by John Dossett), the Brooklyn-born lawyer now living in St. Louis. His unapologetic adherence to rules of dress,
conduct, and grammar is something straight out of 1987's "Wall Street." But when his carefully controlled racism is picked up by his 15 year old son, the cracks in the dam let loose truly fresh and surprising emotions.

White People has its flaws, but it manages to steer pretty clear of preachy, which, to me, is a major trap that plays which are specifically "about race" tend to fall into. While it isn't exploring a whole lot that, say, "Crash" didn't go into 5 years ago, it's still a solid piece of theater that'll make you think.

(White People runs through Feb. 22 at the Atlantic Stage 2, 330 West 16th Street, Chelsea. Tickets are $45, to purchase call 212.279.4200 or visit ticketcentral.com.)

Monday, January 5, 2009

The Cripple of Inishmaan (Atlantic Theater Company)

Aaron Monaghan as Billy and Kerry Condon as Helen in The Cripple of Inishmaan.

BOTTOM LINE: Wonderful characters, witty banter, sharp writing and exceptional production value make for a fun playgoing experience. When you're on Cripple Billy's journey you never know what will happen next.

I am an undeniably huge fan of Martin McDonagh's work, so this review is perhaps a bit biased. And with that admission, I'll just lay it out for you: if you don't like dark comedy, or violence, or despicable name-calling, or jokes at others' expenses, or manipulative storytelling, or witty one-liners, or the Irish...then The Cripple of Inishmaan is not for you. You can stop reading. Go see Mamma Mia instead. If however, you enjoy plays where the characters ooze imperfection with the most genuine appeal, run to Atlantic Theater Company to see this show. I will now step off my soap box.

McDonagh is an Irish playwright who weaves stories about the darkest of situations beautifully and with an extrordinary sense of humor. His previous work includes The Pillowman (Tony Award winner for Best Play in 2005), The Lieutenant of Inishmore (Tony nominated for Best Play in 2006) and The Beauty Queen of Leenane (Tony nominated for Best Play in 1998), as well as last year's movie In Bruges, which McDonagh wrote and directed. This production of The Cripple of Inishmaan is a revival; it was previously produced at The Public Theatre in 1998. The Atlantic Theatre Company and McDonagh have a history of collaboration, and it wouldn't surprise me at all if Cripple gets plucked for a Broadway run of its own, as has happened with his other plays that began off-Broadway at Atlantic. This show is co-produced with Druid Theatre Company.

Cripple, directed by Garry Hynes, is set on the small island of Inishmaan off the coast of Ireland, in 1934. News quickly spreads that American filmmakers are on a neighboring island casting a new movie and everyone wants to get in on the action. Billy (or Cripple Billy as his friends and family affectionately call him), is a humble teenage with physical deformities who has never really been accepted. Babbybobby (or, the guy with the boat) is taking some locals to see the filmmakers and Billy convinces Babbybobby to take him along, much to the shock and concern of his two elderly aunts. What transpires afterward leaves you guessing and totally invested in the story. Sorry I can't tell you more, but I'd hate to ruin it for you. McDonagh is the king of presenting a puzzle and slowly putting the pieces together as you watch the story develop (although just because a piece fits, it doesn't mean it's in the right spot).

Cripple is acted well by everyone in the ensemble; there isn't a weak link in the bunch. All of the characters exude a sad compassion but still understand the contagious humor that underlies each scene. And for what it's worth, Atlantic Theater Company puts on a damn good show. The production value is impressive for an off-Broadway event with sophisticated sets, costumes and lighting design. But this show still feels right in its small venue, it's hard to imagine it being as endearing in a big, impersonal Broadway theatre. Check out The Cripple of Inishmaan while you still can, the limited engagement ends March 1st.

(The Cripple of Inishmaan plays at The Linda Gross Theatre at Atlantic Theater Company, 336 West 20th Street between 8th and 9th Avenues. Show times are Tuesday through Friday at 8pm, Saturday at 2pm and 8pm, and Sunday at 2pm and 7pm. Tickets are $65 each, or use discount code PLAYCRIP for $49.50 tickets, but only until January 15th. For tickets visit ticketcentral.com or call 212.279.4200.)

Wednesday, December 10, 2008

Improbable Frequency (59E59)

BOTTOM LINE: The thinking man's (or woman's) musical theatre.

During the intermission of Improbable Frequency the lady sitting in front of me turned to her companion and said, "You really have to concentrate on this one." That is somewhat of an understatement. Set in and around Dublin during WWII, the story weaves its way in and around the connections of a eclectic mix of characters, all of whom sing, mug, shimmy, dance, vogue, and speak in verse.

What I loved most about this play was the obvious craftwork that went into creating it. All the dialogue is in verse, the songs are catchy and are all quite distinctive, the set, lighting and costumes were all time and place perfect. There was not a detail left unattended to, and that includes the cast – a fantastic group of talented actors who play a range of characters with great aplomb. The entire enterprise felt like a finely tuned Cadillac purring at an auto show. It successfully merges many genres, often feeling more like a movie than a play. There is political tension mixed with farce, romanticism and a touch of film noir...something for everyone.

My only criticism is that the play may be too smart for its own good. At some point in the middle of Act II, I sort of got lost in the labyrinth and never really found my way out. At a two and a half hour running time, perhaps a few of the extraneous off shoots of the main plot could be sacrificed for time.

But that really is a minor quibble when compared to the amount of fun this play really is. And now that I think about it, maybe the woman in front of me was concentrating too hard. Maybe the whole point of the Improbable Frequency is that it is, in fact, improbable, and the harder you try to keep everything linear and wrap your brain around all the connections and interconnections, all the more improbable it becomes. Maybe the point is to just sit back, relax and enjoy the show.

(Improbably Frequency plays through January 4th at 59E59 Theaters, 59 E. 59th Street between Park and Madison. Show times are Tuesday at 7pm, Wednesday at 2pm and 8pm, Thursday and Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 3pm. Holiday schedule: December 24th at 2pm, December 25th at 6pm only. Tickets are $60...to purchase visit ticketcentral.com. Visit 59E59.org for more info.)

Tuesday, December 9, 2008

New House Under Construction (59E59)

BOTTOM LINE: If the actors are on, this play can be one heck of an emotional ride. If not (and if a few other things don't click), it might miss the punch.

After 15 years, 2 couples in their 40’s are reunited during the construction of a new house. Old rivalries, secrets and choices made long ago come to the surface and the audience is brought into a story about love, lust and the “what-ifs” in life.

After the first few scenes of New House Under Construction I thought this play was going to be about adults with sex issues – this can be a fine line between quality creative work and uninspiring indulgence. Fortunately the story turns away from just exploring sexual desires as the audience begins to discover more about the characters in an interesting way. The story then turns again in a completely unexpected way to share something I really appreciated in the end.

New House was written and directed by Alan Hruska, an accomplished lawyer turned writer-director. His writing offers a keen insight into human truths and character. The many scenes made for an interesting story, although a few scenes drop a bomb at the last possible moment, only to be edited too quickly. The theatrical experimentation with the space and storytelling was interesting and for the most part worked, although one scene that diverted from the structure of the staging and story didn’t thrill me too much and seemed too theatrical for my taste if not superfluous.

I caught an early preview of this show on a Saturday afternoon, so I can understand that this play is still getting its legs. In the performance I caught, the actors took a few scenes to get warmed up and I just wasn’t buying the stakes or the relationships that the material was demanding. The actors are obviously talented, although some moments weren’t quite there for me. Again, as the material sets in and the show officially opens, we’ll see how the piece comes together.

There were also a lot of little things that detracted from the enjoyment of the play and needed a bit more craft. Some were technical effects, some were written in the play itself and some were moments that are being ironed out. It took away from my engagement in the play at times. At this point, a lot falls on the actors to comfortably own the material and deliver truthful, emotionally invested scenes. There are a lot of aspects that are quite good, don’t get me wrong, it’s just going to have to click the whole way through for this to become the engaging and surprising piece of theater it can be.

(New House Under Construction plays at 59E59 Theaters, 59 East 59th Street between Madison and Park, through January 4th. Show times are Tuesday through Friday at 8:15pm, Saturday at 2:15pm and 8:15pm, and Sunday at 3:15pm. Tickets are $35...to purchase, visit ticketcentral.com or call 212.279.4200. Visit www.59E59.com for more info.)

Sunday, December 7, 2008

CALIGULA (Horizon Theater Rep)

BOTTOM LINE: With a strong message about the contradictions of both love and government, you don't have to be familiar with Camus nor Caligula to enjoy this production.

"By definition, a government has no conscience. Sometimes it has a policy, but nothing more."
-Albert Camus

Albert Camus is often considered one of the twentieth century’s most influential existentialists, though he would not approve of this label. (Incidentally, he also happens to be among this reviewer’s favorite authors.) It seems that as the new millennium matures, existential questions return to the forefront. Caligula is a story of a disillusioned leader who abuses his power in vain. It is only appropriate that Horizon Theatre Rep should choose to present Caligula now.

Produced at the impressive, newly renovated Theatre Row Studios, Caligula welcomes its audience with an impressive set. Tall columns lend a Roman flavor, while an oversized banquet table surrounded by gold chairs can’t help but reflect a very well-known piece of art. Set designer, Peter R. Feuchtwanger, brings the symbolism home with an ever-present burning flame in the background. Lighting designer, Jeff Croiter, continues this timeless design with a hint of 1920s flavor by combining traditional warm lighting effects and romantic columns of light with the starkness of exposed light bulbs. The attention to detail with the costumes and hair by Jennifer Nweke furthers the concept of a timeless era that could just as easily be from the 1920s, as it could be today, as it could be tomorrow. Even though the two hour run time sans intermission is a little scary, don’t worry, it goes by surprisingly fast. Definitely don’t let it deter you from seeing the show. Caligula provides a pleasant evening of theatre.

I have mainly one problem with this production. I simply cannot allow myself to believe that fight choreographer Rick Sordelet could be responsible for the borderline laughable death scenes. Simply google his name and you will see that this man is a tremendous fight choreographer with massive Broadway and film credits (the film “Dan in Real Life” and Broadway’s The Lion King, Beauty and the Beast, Aida, and 110 in the Shade to name only a few)! I have witnessed examples of his superb choreography in the past. Sitting in the audiences of American Buffalo (Broadway revival, 2008), The Homecoming (Broadway revival, 2007-2008), and Curtains (Broadway 2007-2008), Mr. Sordelet, on more than one occasion, has caused me to jump in my seat, clutch my pearls, and gasp for air with his convincing violence. Therefore, I suspect director Rafael De Mussa, is to credit for the unfortunate distractions. It appears that at the expense of believability, the director attempted to create an “artistic” stage picture. I’ve seen this happen before and I will never understand it.

Nonetheless, I implore any audience member to suspend their disbelief and forgive those brief moments of unbelievability. After all, the story itself already asks you to believe that one man is capable of murdering and raping whomever he wishes (including the moon) at random with little to no objection. Why not believe that a person can be dead while sitting completely upright in a banquet chair and maintaing almost perfect posture? Fortunately, Mr. Sordelet has the opportunity to show off his stuff with a massive group fight scene that is rather impressive. Multiple guns, punches, and all manors of violent acts are displayed in a moment of chaos that is like a brief waltz among madmen with all the grace of a dance but none of the beauty -- and that’s a good thing. Minus the glaring death scenes, Caligula is a solid production with several fine performances that are well worth seeing.

A solid ensemble overall, a few actors rise to the top. In particular, Ben Gougeon (Helicon) captivates with mesmerizing stealth. Mr. Gougeon transforms ever so subtly from a harmless, almost oafish teddy bear of a yes-man to a captivating, carnal conspirator. He creates a passionate villain that one loves to hate. Also noteworthy, is actor Miles Warner (Mucius). With heartbreaking eyes and a hauntingly expressive face, Mr. Warner creates a character whose soul disintegrates before one’s very eyes, a stunning performance. Chris Triana (Metellus) exhibits a flawless facility with language, which not only delivers a strong performance but is also a breath of fresh air. His clarity immediately dispels any confusion in the story-line. Moments of levity are unexpectedly delivered by Hungarian actor, Gustav Bodor (Octavius). A character that so easily could have been portrayed as obnoxious or whiney is nothing but charming and likable in Bodor’s hands. Bodor’s keen comic timing and sympathetic character is perfection. Special nod should also be given to De Mussa (Caligula). According to Caligula, an actor need only be devoid of emotion to play a god on stage. De Mussa follows his character’s advice and, in doing so, creates a powerful demon. Too often actors give performances laden with yelling, crying, pointing, slamming of fists and red-in-the-facing. This reviewer appreciates any actor who can achieve a dominating character without resorting to these lesser tactics, which De Mussa does. While I found some of De Mussa’s directorial choices to lack solidarity, I must applaud his acting performance.

Again, though I do not love all of De Mussa’s choices as director of the production, his hand in aiding his actors to create fully fleshed characters and relationships is apparent. The one-on-one moments between actors are delicious. If it were a film, I believe every tight shot would be amazing. On stage however, and sitting out in the 99-seat house, the effect is a little less wonderful. As a director his staging is a little weak but his ability to glean fire from his actors is apparent. If I am being a little picky it is only because Horizon Theatre Rep’s production of Caligula has put itself on a high enough bar that it should be measured as such.

Another thing that really makes De Mussa and Horizon Theatre Rep shine is their open-minded casting choices (not to mention the sheer size of the cast). Thank you for creating a world on stage that is reflective of the streets we walk. Foreign accents tickle the ears, different ethnicities grace the eyes, all creating a landscape that is lush and refreshing. This is what “open casting” really is at its best. No political agenda or “hit me over the head message.” No racial injustice to drive home. Simply a reflection of the real everyday world. Different accents, cultures, and ethnicities exist in this world simply because they do. People of minority don’t go walking around every minute of their lives thinking, “Hmm ... how can I make the way I look or sound be a political statement?” and Horizon Theatre Rep gets that. Kudos! Kudos to you, Horizon Rep, for actually doing what so many other theaters say they do, but don’t. I only hope to see more of it in the future.

Caligula is well worth the price of admission. The story is pertinent, several of the actors are exceptional. The quality of the production is excellent, to which beautiful and simple set, lights and costumes all contribute. Caligula is what off-Broadway should be.

(Caligula runs through December 30, Thursday - Saturdays at 8pm, and Sundays at 3pm, at The Kirk @ Theatre Row, 410 West 42nd Street (between 9th & 10th Avenues). Tickets are $18, available through Ticket Central, www.ticketcentral.com. run time is approximately 2 hours with no intermission.)