What to Do When You Hate All Your Friends (Lion Theatre at Theatre Row)

Susan Louise O'Connner, Josh Lefkowitz, Amy Staats, Carrie Keranen, Todd D'Amour. Photo by Martin R. Miller.

BOTTOM LINE: a talented cast trying really hard to rise above so-so material...but still worth the price of admission.

You can probably guess that I didn’t love this play; but I didn’t hate it either. I am actually completely neutral, it just sort of happened. Larry Kunofsky’s new play What to Do When You Hate All Your Friends tells the story of Matt (Todd D'Amour), a man who (as you can no doubt guess) hates pretty much everyone. He decides to join this clique of friends who assign a ranking system to determine who is each respective member’s number one friend. Matt grows to actually like these people and feel accepted and he even falls in love with the ring leader of the group, Celia (Carrie Keranen), who has major intimacy issues. But the problem with the script is that I didn’t really care. The hero of the story doesn’t like anyone or anything, so likewise it’s really hard to like him. This is no fault of D’Amour, who does a good job, but he has a lot working against him.

There are some pretty funny moments in this play, and I'm sure some people will find the characters charming. Amy Staats' quirky betrayal of the fringe friend, Enid, is amusing. There is also a pretty outrageous scene between Matt and Celia where they meet and pleasure themselves under separate sheets.

One of the best components of the show is the awesome set design by Niluka Hotaling. She does an incredible job of designing a multi-functional set that makes the very small acting area of The Lion Theatre seem larger than it is. It adds a fun element of fantasy and whimsy to this off-beat comedy.

I think that the playwright had great intentions, but perhaps this story would have worked better as a one act play. The concept is good, but it feels a little long at nearly 2.5 hours. It’s a cute little play with a few problems, but honestly that might not matter in the end. This group of characters picks apart every little minutia of each day’s activity; if you have friends like that you'll find it totally relatable. It’s a clever commentary on how we define ourselves and our friends. However the play wants the audience to fall in love with it and its parade of yuppie characters, but falls a little short of this goal.

That being said, if you like seeing new work by a promising young playwright with some truly fine performances, What To Do When You Hate Your Friends, is worth a look. Don’t expect to be bowled over, but I definitely chuckled a few times and you can check out some talented actors who have the chops to go on to bigger and better things. One final reason to see this show is a promotion with the Celtic Bar where you can get a free cocktail at the bar after the show when you present your ticket stub from the show. Live theatre AND free alcohol...and for only slightly more that a movie ticket...you can’t really go wrong with that!

(What to Do When You Hate All Your Friends plays through August 23th at The Lion Theatre on Theatre Row, 410 W. 42nd (Between Ninth and Tenth Ave.) Shows times are Tuesday-Saturday at 8pm and Sunday at 2 pm. Tickets are $18...call 212.279.4200 or visit www.TicketCentral.com.)

[title of show] (Lyceum Theatre)

Susan Blackwell, Jeff Bowen, Heidi Blickenstaff & Hunter Bell. Photo by Carol Rosegg.

Zak and Molly saw [title of show] with the intention of writing a Point/Counterpoint review; turns out they both really liked it and there wasn't a Counterpoint to speak of. So in the self-referential spirit of [title of show], here's why Zak and Molly highly recommend it. (The following is an excerpt from the conversation they had online after seeing the show.)

Zak: How should we write this review?

Molly: I don't know, it would've been easier if one of us didn't like it.

Zak: Too bad it was actually good, it's harder to write a positive review than a negative one.

Molly: Yea, I have nothing to slam or mock, this feels weird. It's refreshing to see new, original musical theatre...but I think they bring that up in the show so now I'm just paraphrasing their script. Well, I feel the need to get people out to see it so what can we tell them that will make them buy a ticket?

Zak: If we wanted to be cheesy we could say, "it's a love letter to Broadway for anyone who has ever had a dream." Or we could just say it's pretty damn good. Orrrrrr we could use the standby: "you'll laugh, you'll cry, it was way, way better than CATS."

Molly: I'm pretty sure you stole that. Do you think [title of show] is too inner-circle? There are a lot of jokes that you'll only get if you're in the theatre industry. I'm not sure German tourists would get it.

Zak: Do a lot of German tourists visit theatreiseasy.com?

Molly: Good point.

Zak: But it's true, it's a little inner-circle. But I still think the "every man" will enjoy themself. It's about four people trying to make the best of their lives in the city, trying to do what they love and be happy. So I think everyone will find something to relate to.

Molly: There is a "human" aspect to it.

Zak: Of course, an avid theatre goer or anyone remotely associated with the arts will hardcore flip their shit over it, which is what it seems like they want to achieve with the show (and I think they fully succeeded). We should also mention that you immediately love all four of these people.

Molly: It's true, you see yourself in all of them.

Editor's note: this conversation continued for another half-hour but was waaaaay too redundant to warrant placement in this review. Suffice it to say Zak and Molly really enjoyed [title of show] for myriad reasons. They definitely think you should see it because it has a ton of heart and is really super funny and self-deprecating. And it's also extremely relatable and uplifting. It's a full Broadway musical with 4 cast members, 4 chairs and a guy on a keyboard and it's brilliant in its simplicity. [title of show] is the story of the 2 guys in the show writing a musical called [title of show]. And that's really all you need to know. Hope you love it too!

(Check out [title of show] at the Lyceum Theatre, 145 West 45th St. Shows are Mon., Tues., Thurs., Fri., Sat at 8pm; Sat. and Sun. at 3pm and Sun. at 7:30pm. Tickets are $26.50-$101.50...buy them at telecharge.com or by calling 212.239.6200. [title of show] also does a front row ticket lottery...click here for more info and scroll to the bottom of the page. Visit titleofshow.com for more show info and to see some YouTube clips.)

Damn Yankees (NY City Center)

BOTTOM LINE: A sexy little musical from the '50s that feels pretty campy in 2008; it stars Sean Hayes (Jack from Will and Grace) and Jane Krakowski (Jenna from 30 Rock). It's traditional American musical theatre, and a very fun way to spend a couple of hours.

The Encores! series at NY City Center presents revivals of great musical theatre, but only in short runs for just a couple of weeks. Led by a kick-ass orchestra (who sits on stage behind the action), Encores! shows are mounted truthfully to the show's original production with as much effort as time and money allow, and they usually have some big names involved to draw a crowd. Last summer, Encores! presented Gypsy, starring Patti LuPone. The show was so well-received that it garnered its own Broadway production (still playing at the St. James Theatre). I'm not sure Damn Yankees will have a life after Encores! but it's totally worth seeing now–just make sure you see it soon, it closes July 27th.

Damn Yankees takes place in the mid-'50s, when the Yankees were unbeatable. It's the story of Joe Boyd, a die-hard Washington Senators fan who sells his soul to the Devil (Hayes) for the chance to become a young baseball phenom who can win it all for the Senators. Turns out the Devil is untrustworthy (imagine!) and has some other bets which require the Yankees to beat the Senators. The Devil sics seductress Lola (Krakowski) on Joe to distract him from the game. But in the end all Joe wants is to be his old self (he misses his wife) and he ditches the young-ball-player-high-life to go back home. The plot isn't totally solid, but it makes for funny relationships and interesting characters. Add to it funky choreography from Bob Fosse and it's definitely respectable entertainment.

With Encores! attention to the preservation of the original production, this revival has moments that seem a bit outdated. But the actors inhabit their roles with seemingly acute attention to the campy potential of their characters. The performances are somewhat self-aware, and this makes the production seem more farcical and humorous. Any lagging or inconsistency in the script and direction is overcome by the performances (or at least it was for me).

Jane Krakowski is the perfect Lola: fiesty and seductive while maintaining a pin-up girl panache. Somewhat reminiscent of her character on 30 Rock, Krakowski embraces the role with an overly-confident charm. Sean Hayes is perfunctory as the Devil; he's pretty funny as the quirky manipulator and throws in some bit moments for extra laughs. But Hayes isn't a musical theatre guy and he really can't sing that well. However he is a concert pianist and he accompanies himself as he sings the Devil's big number...it's pretty cool. The rest of the cast is strong as well; there is a humor about these characters that is shared with the audience.

All-in-all Damn Yankees is a fun time at the theatre. You should absolutely check it out if musical theatre pleases you. The production is a throw-back to what musical theatre used to be, and there is an overall charm that goes along with it. Krakowski's performance is delightful and it's nice to see Hayes try something new.

(Damn Yankees plays through July 27: Tues. July 23rd at 7pm; Wed. July 24th at 8pm; Thurs. July 25th at 8pm; Fri. July 26th at 8pm; Sat. July 27th at 2pm and 8pm. Tickets are available at 212.581.1212, $25-110. Visit citycenter.org for more info.)

Scenes from an Execution (Potomac Theatre Project)

(Jan Maxwell as Galactia and David Barlow as Carpeta. Photo by Stan Barouh)

BOTTOM LINE: A fictional story set in 15th century Venice with a somewhat classical feel and a somewhat academic script; it's about the struggle for artistic integrity against conservative authority. Jan Maxwell's performance is awesome and worth seeing, but the play might be too wordy for those adverse to historic dramas.

Potomac Theatre Project is a Washington D.C. based company that now brings its summer repertory season to New York, presented at the Atlantic Theatre Company's Stage 2. PTP's artistic mission involves presenting work that is thought-provoking and revealing, dealing with culturally relevant issues. This summer, they offer 2 nights of entertainment–the first includes 2 one-acts, and the second includes one full play, Scenes from an Execution.

Scenes from an Execution takes place in 15th century Venice. It's the story of the painter Galactia (played by Jan Maxwell). Galactia has been commissioned to create a giant mural to be displayed in the city about Venice's triumphant (yet incredibly bloody) Battle of Lepanto. Galactia refuses to compromise truth, and therefore paints a gorey and unsettling portrait of the battle even though the heads of the city decide it's way too offensive for the masses. She won't relent and ends up being thrown in jail as punishment for disobeying.

The story is conflict-laden and the script is witty and playful. A lot happens and it's a lot to digest in a sitting. I recommend it for people who like academic entertainment because it occasionally feels like a history lesson. But even though it's scholastic in nature it's not at all hard to digest. And really there isn't anything inherently academic, it's more about the delivery and the way in which the piece is performed that up its culture quotient.

Jan Maxwell's performance is really, really great. She is a seasoned actor who was nominated for a Tony last year for Coram Boy. Maxwell's Galactia is sincere and not whiny; it's hard to be a female and an artist in a society in which neither are respected and the audience understands her plight. She is perfectly cast in this role and it's fun to watch so adept an actor in such an intimate space. Maxwell is joined on stage by a competent cast and the production itself is cleanly defined and directed. The production is well-executed but the subject matter might not be universally appealing.

(Scenes from An Execution - Evening B - plays at Atlantic Stage 2, 330 West 16th Street between 8th and 9th Aves. Future show times are: Thurs. July 17th at 7:30pm, Sat. July 19th at 7:30pm, Sun. July 20th at 2pm, Tues. July 22nd at 7:30pm, Wed. July 23rd at 7:30pm and Sat. July 26th at 2pm. Run time is 2 hrs. 10 min. Tickets are $24 and $10 for students; buy them at www.ticketcentral.com or call 212.279.4200. Visit www.potomactheatreproject.org for more info.)

a Perfect Couple (DR2 Theatre)

BOTTOM LINE: A great play with first rate performances that examines relationships in a fresh and exciting way which should not be missed.

Amy and Emma have been friends since college. Amy starts dating Isaac when they‘re in their mid-twenties. Amy, Isaac and Emma become lifelong friends. The three gather together as Amy and Isaac finally plan their wedding. Their happy existence is rocked when Amy discovers a diary from Isaac’s recently deceased stepmother, in which she says that she believes her step son is not in fact in love with Amy, but is meant to be with Emma. This is the seemingly simple setting for Brooke Berman’s new play, A Perfect Couple, now playing at the DR2 Theatre. What happens next is a refreshing look at what it means to be in a relationship as you approach middle age. Do you settle for a life that is easy because that is what you have always wanted, or are you happy and brave enough to be alone until you find that person that you know is out there for you?

Ms. Berman, who recently penned the critically acclaimed Hunting and Gathering at Primary Stages, creates characters that are so rich and complex that you find a small part of yourself in each of them. She has the courage to address issues that sometimes make people uncomfortable in an honest manner. The entire cast give wonderful performances. Annie McNamara (Emma) creates a woman who is comfortable with her choice to be alone as she approaches forty and doesn’t view this as the problem that everyone around her seems to think it is. One of the highlights of the evening comes during a heart-felt scene between Dana Eskelson (Amy) and Elan Moss-Bacharach (Josh), who plays the recent college graduate who is helping James Waterston (Isaac) clean out the attic. He presents a different view on what it means to be in relationship that’s worthy of a bestselling self-help book. It’s so simple in it’s philosophy, but ultimately so true to life. Trust me, it’s kind of brilliant.

Bottom line, this is a really, really good play. At only an hour and half, the time flies by. I can’t say anything more about it because I don’t want to ruin the story, but you will like it. You will see a part of your self in every one of these characters and maybe examine why you made the choices you did in life or why you are making the choices you’re making right now. It examines what happens to us from the time we are in our mid-twenties and are full of hope and a little bit of fear as we approach forty and filled mostly with fear and only a little bit of hope. So, if you're twenty, forty, or have ever been either of those ages, I think you will find something to identify with in the finely crafted play. I hope that Ms. Berman continues to have success in the New York theatre scene because this is the kind of play that makes Off-Broadway theatre exciting. It challenges and entertains an audience.

And for a one-two punch of kick ass theatre see A Perfect Couple at 8pm on a Friday or Saturday and then catch the late show of Fuerzabruta right next door. You’d be hard pressed to find a better way to spend your evening.

(A Perfect Couple plays at the DR2, 103 East 15th Street, but only through July 19th. Shows are Monday through Saturday at 8pm; final performance on July 19th is at 6pm. Tickets are $25-$45; student rush tickets available, ask box office for more info. For tickets call 212.239.6200. Visit www.wetweb.org.)

Fuerzabruta (Daryl Roth Theatre)

BOTTOM LINE: Go and see this show NOW!!!! It’s unlike anything you have seen before and you will hate yourself if you miss it!!!

After picking up your tickets at the box office for Fuerzabruta, you are handed a piece of paper telling you that you will stand for the length of the show, be asked to move freely about the space, and might get wet. As you enter the Daryl Roth theatre, you encounter a large, empty room with various flashing lights and a house DJ spinning tracks that can only be described as new world meets house music. You are told to take your place in the giant circle that is drawn on the floor and join the dance party already in progress. Suddenly, the music stops, the lights go out, and you are in for the ride of your life.

What happens for the next 65 minutes is hard to explain, but it will definitely rock your world. The producers describe the evening as an “event where worlds collide, dreams are real and reality takes a back seat.” I say that is a pretty accurate description. From the producers who brought you the in-your-face De La Guarda, Fuerzabruta is nothing short of spectacular. The word Fuerzabruta is literally translated as “brute force,” which is a pretty accurate portrait of what you will see. It’s hard for me to say exactly what this piece is about other than that it is a complete bombardment of all the senses that will mean something different to every person who has the privilege to be a part of this wondrous theatrical event.

You are presented, among other things, with a man who must fight to stay aboard a giant treadmill as he busts through buildings and is transported throughout the space, several aerial acts that rival the best that Cirque du Soleil has to offer, and a giant pool that lowers from the ceiling and rests literally inches from your face where women glide, slide, and manipulate water in truly imaginative ways. If any of that sounds intriguing to you, you must go see this show. As I said before, every person will take something completely different from this show, and that is what makes it truly brilliant.

The audience ranged from hipster East Village types all the way to middle-aged Midwestern women, but every single person in the theatre loved every minute of what they were seeing. You could feel it in the air. The audience truly becomes a part of the action and it is electric, unlike anything you’ve experienced in a theatre, culminating in a full-out house party where every single person in the audience was dancing to the music along with the cast as it rained on a portion of the theatre as they danced their hearts out. I left the theatre completely soaked (you can escape the downpour, since it rains on only a part of the crowd, but why would you pass that up?) When you go see this show-and you should go and see this show-don’t bring a bag unless you want to check it, wear comfortable shoes, and possibly a change of clothes. It is one of the best things that I have seen in a long time, and I hope it will be playing for quite a while. Bring your friends from out of town, bring your adventurous parents, bring your friends, just go and see this show as soon as you can.

(Fuerzabruta plays at the Daryl Roth Theatre, 101 E. 15th St. Performance Schedule: Tuesday- Thursday, at 8pm, Fridays at 8pm & 10:30pm, Saturdays at 7pm & 10pm, and Sundays at 7pm.

Tickets:212.239.6200. Tickets are $75 but you can get discounts if you look online, generally for $39.95, and a limited number of $20 rush tickets are available two hours before the show.
Check out www.fuerzabruta.net for more information.)

Stitching (The Wild Project)

BOTTOM LINE: Tragedy befalls a young couple and they're left to pick up the pieces. The story is told in non-linear vignettes so the audience actively tries to stitch the pieces together themselves. Stitching is well-executed in performance and production, but the subject matter is pretty disturbing. If you're okay with squirm-inducing theatre, this is most definitely a play to see.

Stitching comes to New York from a successful run in London. The story involves a couple, Abby and Stu, who are dealing with their tumultuous relationship after experiencing a tragedy. Both are scarred and scared, and the audience learns the nature of each character as we see them deal with what's thrown at them. The story is told in a brilliant non-linear way, and although it's easy to follow, questions always linger in the air as to which character is the victim and what's really going on. Playwright Anthony Neilson weaves a clever story complete with a moment of clarity when you realize the truth was always right under your nose. This is truly exciting theatre and well-crafted storytelling.

The play stars two actors with extensive credits and experience, Meital Dohan as Abby and Gian-Murray Gianino as Stu. Dohan is Israeli and is most recognized in the States from her role on "Weeds" as Yael Hoffman, the sexy rabbinical scholar. Gian-Murray Gianino is a seasoned American stage actor, most recently seen in Eurydice at Second Stage. Because these actors are so talented in their art, they are able to make their characters palpable; their chemistry is hot and their attention is intense. This is important, since the actions these characters go through is extreme and could easily fall into the trap of unbelievability.

Stitching is referred to as "in-yer-face theatre." This is a British genre with the name coined by a British theatre critic; although it's not quite as recognizable in America, modern playwrighting is frequently confrontational and aggressive in the same sort of way. In-yer-face theatre is a kind of theatre where what happens on the stage and in the story is disturbing, sometimes gruesome and usually uncomfortable. The idea is to include the audience on the emotional ride and ask more intense questions about life and morality. In-yer-face theatre is often thought-provoking and interesting, and it's definitely not passive. Stitching is certainly confrontational and makes the audience personally invested in the story. Regarding the original British production, Time Out London said "I left the theatre with my pulse, and my mind racing." That's a pretty accurate description of how this piece of theatre gets under your skin.

I really enjoyed this play, and I had a lot to talk about when I left the theatre. I definitely recommend it to anyone who likes intriguing story-telling that keeps you engaged and leaves you affected when its over.

(Stitching plays at The Wild Project, 195 East Third Street between Aves. A and B, until July 19. Mondays and Tuesdays at 7pm, Wednesdays-Fridays at 8pm, Saturdays at 2pm and 8pm. Tickets are $45 and can be purchased at www.ovationtix.com or by calling 212.351.3101. Student Rush tickets are $10 and are available for purchase at the box office (cash only) 2 hours before each performance. Visit stitchingtheplay.com for more info.)

All Kinds of Shifty Villains (Kraine Theatre)

BOTTOM LINE: An unexpected and interesting look at film noir (mixed with elements of the circus) that might leave the novice theatre viewer slightly confused.

When you go to the theatre in the East Village, you never really know what to expect. The theatres are often in interesting locations and have a lot of character, which adds to the fun of viewing daring Off-Broadway and Off-Off-Broadway productions. The Kraine Theatre is no exception. It’s a great space on East Fourth Street complete with its own full service bar and cabaret space upstairs. The latest production to set up shop at the Kraine is Robert Attenweiler’s All Kinds of Shifty Villains, produced by Disgraced Productions. It’s a fun filled play that bills itself as a “carnival noir,” which pretty much sums it up.

The play takes elements of film noir and throws in some circus elements for good measure. You read that correctly, circus meets film noir. There is a hero who is seeing things that might or might not be real, a sultry femme fatale with tattoos that are slowly trying to kill her, a crazy conspiracy theorist who is obsessed with bombs, a blind Blues-singing hitman, two drunken southern ex-con brothers complete with their sex-crazed weapons-dealing mother, a pimp, and a mute clown. That’s right, a mute clown.

Now, if all of that seems intriguing to you, then you should see this play. If you felt a little frustrated and/or confused by this description, then you should probably stay far away from this particular production. But if you leave All Kinds of Shifty Villains a little confused, that’s alright. With a running time of only about an hour and half, all of the ridiculous high-jinx are wrapped up before you know it.

I’m going to be honest, I don’t know that I particularly liked this play; but I did have a strangely good time. What started as an idea to do a play that was an homage to the film noir genre developed slowly, with the help of the cast and director Rachel Klein, into this wacky, disjointed piece which doesn’t fully embrace the ridiculousness that is had. I think it might have been more successful if the play had stayed true to its film noir inspiration and stayed clear of the carnival aspects, or abandoned the film noir and gone full throttle circus.

That being said, I did really like the circus tricks. There are some really fine moments of clowning and slight of hand trickery that are truly unexpected. Ms. Klein’s direction is inventive and surprising and her years of training with clowning and trapeze are well utilized in this production. If you go to All Kinds of Shifty Villains expecting the unexpected, then you will be satisfied. While it might not be for everyone, I know that adventurous theatre goers will find fun in this theatrical event, even though they, much like the hero of the play, may leave not fully understanding what they have just seen.

(All Kinds of Shifty Villains plays at the Kraine Theatre, 85 E. 4th Street, until June 28th. Performances are Thursdays-Saturdays at 8pm and Sundays at 2pm. Tickets are $18 and are available by calling Smarttix at (212) 868-4444 or online at www.smarttix.com. There are Complimentary Rush tickets for Members of Actors Equity if seating is available 15 minutes before show time.)

Xanadu (Helen Hayes Theatre)

BOTTOM LINE: It's the funniest show on Broadway (if you like smart, quirky humor with a dash of roller disco).

So I'll admit that I had very little desire to see Xanadu, the new-ish Broadway musical currently playing at the Helen Hayes Theatre. It sounded like a disaster waiting to happen. I mean, an ‘80s musical based on the Olivia Newton John movie musical of the same name? No way it should've been good. But I have to say that despite my strong reservations I absolutely loved this show! It is the funniest musical I have seen in a long time and I hope that everyone who reads this review will skate over to the theatre and see the show immediately.

Xanadu tells the story of a Greek muse who is sent to earth to inspire Californians during the 1980s. While on earth, she falls in love with an artist and helps him realize his dreams of opening a roller disco. I know that sounds ridiculous, and it is, but somehow, it doesn't matter. The book, by the ingenious Douglas Carter Beane (Little Dog Laughed), takes this shoddy premise and manages to make a smart, loving satire of this cult movie, and he should have finally been rewarded with a Tony for his efforts. (Passing Strange winning best book of a musical? Come on Tony voters! What does Mr. Beane have to do to catch a break from you people?) All of the problems with the original story are acknowledged and made fun of with a wry sense of humor that is really refreshing for a Broadway musical. The show makes jokes about why the main character is speaking with an Australian accent when she is supposed to be Greek, and why the characters are suddenly on roller skates.

The performances are also wonderful. The comic genius of Mary Testa and Jackie Hoffman is some of the best work that you will see on a Broadway stage this season. It's a shame that they couldn't be nominated for a Tony together for their performances.

If you go to this show with an open mind, wanting to have a good time, you will get everything you ask for. Even though the running time is almost 2 hours without an intermission, the time actually flies by and you won't believe that it is already over. Xanadu is one of the best reviewed shows of the season and the winner of the Outer Critics Circle Award for Best Musical. It was also Tony nominated for Best Musical. Xanadu is just plain good, so get over your hang-ups about it and see it already!

(Xanadu plays at the Helen Hayes Theatre, 240 West 44th Street between 7th and 8th Avenues. Perfomances are Tuesday at 7pm, Wednesday - Saturday at 8pm, Wednesday and Saturday at 2pm, and Sunday at 3pm. Tickets are $41.50 (onstage seating) to $111.50. Student rush is available. For tickets call 212.239.6200 or visit telecharge.com. Visit xanaduonbroadway.com for more info!)

Boeing Boeing (Longacre Theatre)

BOTTOM LINE: A funny, fast-paced farce with a first rate cast. Seriously, see this show right now!

The latest production to grace the boards at The Longacre Theatre is Marc Camoletti's comedy Boeing Boeing. The play comes to Broadway after a very successful run in the West End in London. It tells the story of Bernard, an American architect living in Paris, who has been juggling his three flight attendant fiancées with the help of his dedicated maid. One faithful day, Bernard's friend, Robert, arrives and things start to fall apart. With the introduction of a new, faster Boeing jet and the threat of inclement weather, Bernard's three fiancées all ascend onto his Bachelor pad and hilarity ensues.

The cast is lead by Emmy winner Bradley Whitford (The West Wing, Studio 60 on the Sunset Strip) and Tony and Emmy award winning stage veteran, Christine Baranski (Cybill and the upcoming film adaptation of Mamma Mia!). They are joined by the three fiancées: Kathryn Hahn (Crossing Jordan) who plays a sex crazed American flight attendant, Gina Gershon (Ugly Betty, Showgirls) who summons her inner Sophia Loren to bring to life a fiery Italian, and Mary McCormack (The West Wing, In Plain Sight) who is utterly brilliant as an over-bearing German lover. Finally, Mark Rylance holds the whole play together reprising his West End performance as the neurotic friend who fiends off the fiancées and tries to keep his friend's complicated love life in tact.

So, I laughed a lot at this show. I mean A LOT. It's old school farce at its best and one of the funniest plays that I've seen on Broadway in a while. The play is pure fun and I can't think of anyone that wouldn't laugh at least a little. In fact, I challenge you to see this show and not laugh. You won't win, but I challenge you anyway. Mary McCormack, Tony nominated for her performance, gives probably the funniest performance that I have seen since Julie White in Little Dog Laughed and her performance alone is worth the price of admission. This play was nominated for a slew of Tonys and I can almost guarantee it will win Best Revival, so go and see it now while you can still get tickets. I hope that this high flying comedy will be with us for a long time, but that can only happen if you go and see it. What are you waiting for? Go now!

(Boeing Boeing plays at the Longacre Theatre, 220 W 48th Street. Performances are Tuesday at 7pm, Wednesday - Saturday at 8pm, Wednesday & Saturday at 2pm, and Sunday at 3pm. Tickets are $26.50-$99.50, call 212.239.6200 or go to telecharge.com. Visit www.boeingonbroadway.com for more info.)

Standing Clear (Coffee Cup)

BOTTOM LINE: For anyone who rides the subway, we're all united by the absurdity of people in transit. Standing Clear is a funny and relatable glimpse into how people behave and interact on the MTA.

Any New Yorker knows the perils of riding the subway: the indecipherable announcements, the drummers who bang on plastic tubs, the guy who sings out loud to his iPod, the European tourists with the giant hiking backpacks. Though these experiences could obviously make for funny sketch comedy, Coffee Cup (a theatre company) manages to turn this material into a rather insightful 90 minute production. Standing Clear introduces a handful of subway regulars including a bickering married couple, a crazy guy (potentially homeless?) and a Nosey Nelly who talks to anyone and everyone. We see the interactions these people encounter and observe what happens when they're matched with other subway stereotypes.

My favorite moments in Standing Clear occurred when the storytelling turned from what was actually occurring on the train, to what was occurring in a character's mind. For example, the girl who is madly attracted to the guy by the door breaks into Meatloaf's "Paradise by the Dashboard Light." It's indulging to watch moments that you've thought about play out in front of you. I've personally always wondered what it would be like to have everyone on my car dancing to the music I'm listening to on my iPod.

This show is very much an ensemble piece, with five actors playing various roles throughout the performance. There is never a particular lead or main actor, just different vignettes involving a few of the characters. Using such a convention where there isn't one main focus allows fluidity of the moments and gives everything equal emphasis, exposing the audience to the human condition on the whole. The script was a collaboration as well, written by two of the performers, Ishah Janssen-Faith and Jack McGowen, with the assistance of the other three performers, Melinda Ferraraccio, Becca Hackett and Ben Holbrook. The five actors work well with each other and it seems as though they are all equally invested in the production.

Standing Clear is an entertaining play, with a message that resonates with its audience: people are weird and life can be annoying, but everyone deserves respect. Focusing this theme on interactions in transit is a relatable way to communicate the idea...and an amusing way to do so.

(Check out Standing Clear until June 21 at The Access Theatre, 380 Broadway at White Street, 4th Floor. Tickets are $20 or $15 for students (at the theatre only) and are available at www.smarttix.com or by calling 212.868.4444. Visit www.coffeecuptheatre.org for more information.)

The above photo was taken by Kemachat Sirichanvimol.

Coming Home (Theatre Row)

Coming Home is a one-act festival produced by Living Image Arts. Three separate plays make up the evening; all are distinct but all have to do with the general theme of "coming home." The tag-line of the production is "Have you ever come back to a home you don't remember?" and this is universal theme behind all three scripts.

I think that with one-act festivals, you're either a lover or a hater with little ambivalence. If you're a lover, you probably really enjoy watching new work get a chance to stretch its legs for the first or second time; you probably also like the idea that if you get sick of a particular play you don't have long to wait until the next one. If you're a hater though, you might take issue with the fact that one act is rarely enough time to develop characters and plot into a story that feels real; it can be hard to get past the exposition stage of a story in such a short amount of time.

In Coming Home, two of the plays, Sparrow and Last Call on Bourbon Street delve into very meaty subject matter and cram a whole lot of story and drama into a short time. If you are a hater, you might be averse to these story-telling methods, feeling hungry for more time to experience what's happening on stage. Sparrow is the reunion story of two ex-best friends who grew up in the Philippines. Both friends planned to move to New York to be artists, but only one achieved the goal and as a result, she seriously resents the friend who stayed in the Philippines. The old friends reconnect after some reminiscing and realizing of the current life-threatening problems that plague one of them.

Last Call on Bourbon Street is the story of a group of friends in New Orleans shortly after Katrina, hanging out in their neighborhood bar. They are fighting to regain their old lives back and face new problems as the insurance adjuster visits the bar to assess the damage as well as the owner's claim. Though the insurance man is inherently the bad guy, through the friend's stories of the heart of the city, he softens and begins to understand that the turmoil that went on after Katrina was indeed horrific and devastating.

The other play of the evening, Counting, does a good job of keeping the plot within the parameters of just one scene. It takes place in the holding cell of a prison as one woman prepares to get out and another prepares to begin her sentence. The woman getting out shows the newbie how to get through her time, by using numbers and math to maintain a distinction between days and moments. Through careful counting and substituting, numbers provide a relatively meaningful way to keep track of days and stay grounded while waiting for release.

Check out Coming Home if you like one-act festivals or the prospect of seeing new work that delves deep into subject matter and makes you think. The performances are overall pretty strong and the subject matter is thought-provoking enough to make for an interesting night of theatre.

(Coming Home plays at The Lion Theatre at Theatre Row, 410 West 42nd Street until June 14th, Tuesday through Saturday at 8pm and Sunday at 3pm. Saturday, June 14th has both 3pm and 8pm performances. Tickets are $18 and are available at ticketcentral.com or by calling 212.279.4200.)

The Judgement of Paris (Company XIV)

BOTTOM LINE: It's sexy, it's dance-y, it's the story of Helen of Troy. This "dramatic entertainment" includes some intensely good dancing but is also pretty avant-garde in its presentation. For those who like modern dance and quirky storytelling.

The Judgement of Paris is directed and choreographed by notable new choreographer Austin McCormick. McCormick is a recent Julliard grad and the Artistic Director of Company XIV. His choreography is heavily modern with a backbone of traditional ballet. And his dancers are all athletic and graceful performing the movement. It seems like McCormick is a seasoned dancer with an itch to do something new and interesting.

Quoting directly from the press release (because I can't find a way to say it any better), "The Judgement of Paris includes French Can Can girls, Greek tragedy, golden apples, Baroque pageantry, courtesans, goddesses, circus freaks, blonde bombshells, Spartan Warriors and Helen of Troy." I'd say that's pretty accurate. And all in 90 minutes.

With an emphasis on Moulin Rouge-esque presentation, the performace is sexual and playful and maintains an air of French fun. The dancers are clearly enjoying themselves as they commit fully to their roles and luckily, it's a fun that's shared with the audience; it's hard not to have a good time. Said fun is further supported at intermission when full-sized candy bars are handed out to the audience by the cast members themselves (seriously, full-sized candy bars, like you're trick-or-treating in the fancy neighborhood).

With music spanning multiple genres and centuries, The Judgement of Paris does occasionally feel like an experiment in creative storytelling, but overall it seems like a cohesive performance. It's an interesting way to tell the story of Helen of Troy, and a plausible correlation is drawn between what is hailed as "the first ever beauty contest" and the 20th century vision of elegance. The production itself is gorgeous. Company XIV's amazingly cool theatre (an old warehouse converted into a performance space) is prime real estate for the staging of this piece. The lighting and sound are perfect in the cavernous room and the technical design is top-notch. Their budget and production value seem atypically luxurious for a dance show in a grungy neighborhood in Brooklyn.

The Judgement of Paris is definitely a good time and the performances are impressive. Check it out if you enjoy dance, and especially you're interested in expressive and unique ways to tell stories. But hurry, it only plays through May.

(The Judgement of Paris plays in Carroll Gardens, Brooklyn at 303 Bond Street. Performance times are Fridays and Saturdays at 8pm through May 31. Tickets are $20 and $15 for students; buy tickets online at smarttix.com or by calling 212.868.4444. Get more information about Company XIV at www.companyxiv.com.)

The Four of Us (Manhattan Theatre Club)

BOTTOM LINE: A solid play about straight guys that both genders should find relatable and entertaining. See it now, it closes May 18th.

The Four of Us is the story of Ben (Gideon Banner) and Dave (Michael Esper); the former is a novelist and the later is a playwright. Both are in their mid-20's and trying to get their professional lives in order. Friends from summer camp, they've gone through their formative years together, always there for one another to lean on. But the nature of things is disrupted when Ben gets a super-lucrative book deal. Dave has to deal with his innate jealousy of Ben's success and their subsequent drifting apart as their careers advance.

Like many other productions at Manhattan Theatre Club, The Four of Us is a new work by an emerging playwright, written about realistic people set in the current time. The dialogue is reflective of two friends who are both expressive and self-aware; it's witty, snarky and touching. And most importantly, it feels real.

The storytelling techniques in The Four of Us are utilized successfully, especially for a story that's essentially about storytelling. Playwright Itamar Moses uses non-linear narration, and as the scenes progress, the audience learns more about why these guys are who they are, and how their friendship propelled them to the current state. Esper and Banner are perfectly cast as two well-intentioned guys, trying to navigate through the early part of adulthood; their professional lives are about written expression and they've got a lot to say.

The Four of Us has been extended until May 18th...check it out while you still can. It's the kind of story with that could certainly live as a movie, but is much more compelling told on stage. It's thought-provoking in all the right ways, and an overall enjoyable experience.

(The Four of Us plays at NY City Center's Stage II, but only for a little while longer. It plays Tues. through Sat. at 7:30pm and Wed., Sat. and Sun. at 2:30. Tickets are normally $50, but use these discount codes to get tickets for $30...visit nycitycenter.org and use code 3792, or call 212.581.1212 and use code 4TAF. The show runs 1.5 hours without an intermission. Check out mtc-nyc.org for more info.)

The Sound and The Fury (NY Theatre Workshop)

BOTTOM LINE: Don’t miss this downtown theatre experience if only for the sheer hubris of the effort, an experimental staging of the first part of William Faulkner’s novel.

I once had a theatre professor who said that the mark of a good work of art is that you wanted to live inside it. I not only wanted to live inside the world that Elevator Repair Service created for The Sound and The Fury (April Seventh, 1928), I did live there for the 2 1/2 hour ride. This production saturates its audience with the story, characters and emotions Faulkner evokes. Even though it uses Faulkner’s text verbatim, it is more like swimming in the subconscious of the Compson family, not always a happy and light place, but certainly a fascinating one.

Elevator Repair Service (ERS) has been performing off-off-Broadway and touring the U.S. and Europe for the past 17 years. Two years ago they performed Gatz, their version of The Great Gatsby, also told verbatim in a 7-hour epic, which had huge critical acclaim but was blocked by the Fitzgerald Estate from mounting a full NYC production. ERS is now back in their off-Broadway debut at New York Theatre Workshop with another novel-to-stage conversion, and an even bolder experiment: performing the first of four sections of The Sound and The Fury.

Here is a complicated and epic take on William Faulkner’s equally complicated novel. The story focuses on the Compson family, in a post Civil War South. A once noble and respectable clan, their lives and livelihood are on the decline. It is a story of suicides, sickness, desperation, and disability. The first of the four sections of the novel is told from the perspective of Benjy Compson, an autistic mute, here played compellingly by both Susie Sokol and Aaron Landsman. Though the story takes place on Benjy’s 33rd birthday, it jumps in time and space, here at Christmas, there on a wagon ride, back at the family dining table, or in front of the fireplace, often with no narrative segues. The reader is left to guess at when and where we are in the timeline of Benjy’s life. Benjy’s thoughts stray between the colors and shapes that mesmerize him, to his love for his often-promiscuous sister, Caddy, to the daily taunts and trials he has to endure at the hands of his family.

David Zinn’s luscious set design strikes one first upon entering New York Theatre Workshop’s East Village space, a conglomeration of mostly “found” furniture from the streets of NYC, arranged to evoke a turn of the century living room. Old Civil War family photos, a Christmas tree in the corner, couches and antique lamps are all assembled to suggest elements of the Compson home. Then the lights come up and the ride begins. Most of the actors appear in modern costumes or in pieces that evoke character rather than fully represent them in period attire. The text of the novel is communicated verbatim, including all the “Caddy said”, and “Luster said’s”, which can sometimes feel like being curled up to hear a great bedtime story.

On top of this, Director John Collins chooses multiple actors in his solid ensemble of twelve to portray the characters at different moments in the play. Four actresses play Caddy, while three actors play the mother Caroline Compson, and two Benjy. There are no rules here. Or there are new rules here. Actors jump from role to role with disregard to race or gender, and yet, I rarely felt myself confused by the transitions. The production allowed us to live inside Benjy’s head, no easy feat as he cannot talk himself, by so poetically evoking the chaos of Benjy’s mind. The colors and textures that draw Benjy to him, are the whirlwind of ideas and images inherent in the production itself. It is in fact a full visceral assault, with Mike Tierney’s sound design aiding the build into the emotional peaks of the narrative. The staging is porous. Characters come and go, scenes appear, disappear and re-appear again. A wall becomes a tree, which becomes the outside of the house; a desk becomes a fireplace, which becomes a funeral procession. This is theatre at its most exciting and innovative. John Collins and his company have done a masterful job of evoking Benjy’s lost and scattered mind, as well as an era of transition, decline and confusion in our collective history.

I highly recommend the show to anyone interested in unconventional downtown theatre. I can’t wait to see it for a second time, and live inside that world again.

(The Sound and the Fury plays through June 1st at New York Theatre Workshop, 79 E. 4th Street between Bowery and 2nd Avenue. The show runs 2 hrs. 15 min. and plays: Tues. 7 pm, Wed.-Sat. 8 pm, Sun. at 7 pm. For tickets, call (212) 239-6200. Get $20 tickets for Sunday night performances. For more info, visit nytw.org.)

Good Boys and True (Second Stage Theatre)

BOTTOM LINE: If you're easily offended or looking for a fun date night, this probably isn't the best choice for you. But, if you like thought provoking theatre that will spark conversation, check it out.

Good Boys and True, a new play by Roberto Aguirre-Sacasa, takes place in 1989 at an all boys private prep school in New England. This seemingly serene environment is disrupted when a sex-tape scandal rocks the varsity football team. The mother of the star senior player has to sort out fact from fiction as she tries to get to the bottom of the controversy and protect her ivy-league bound son.

The space at Second Stage Theatre is one of my favorite Off-Broadway houses. It's a really cool place to take in a show and I think it's a good home for this piece. The play moves along pretty quickly and only runs 85 minutes with no intermission. With a few exceptions, all of the performances are great. It's worth seeing the show for Broadway veteran J. Smith-Cameron's portrayal of the conflicted mother that will stop at nothing to do what is best for her son. She really is the glue that holds this slick production together.

I thought that this play was pretty decent. It makes you think about what ultimately makes people good and if we can ever really escape the mistakes of our past. I can't really say too much more about the story because I don't want to ruin anything. It takes very privileged WASPy New England characters and forces them to really examine themselves, how they are perceived by others, and how they treat other people; it will hopefully force the audience to do the same thing. It's not a perfect play by any means, but definitely worth seeing.

(Good Boys And True plays at Second Stage Theatre, 307 West 43rd Street at 8th Avenue. Currently in previews, it officially opens May 19th and runs through June 1st. Showtimes: Tuesday at 7pm, Wednesday at 2pm & 8pm, Thursday - Friday at 8pm. Saturday at 2pm & 8pm, Sunday at 3pm. For tickets call the box office: (212) 246-4422...regular priced tickets are $65-$70, Youth Advance (Under 25) are $25, same-day student rush are $15.)

Cherry Docs (Theatre of the Expendable)

BOTTOM LINE: Cherry Docs is a well-constructed, fascinating two-man play. A thought-provoking experience with stellar performances. And for only $11 a ticket, it's the same price as a movie but a much more fulfilling way to be entertained.

Sometimes off-off-Broadway is intensely good and you feel sort of bad that they're only charging $18 a ticket while some schlocky Disney musical is charging over $100 a head. Cherry Docs is exactly that kind of show. And their tickets are even cheaper than the standard.

Although this production marks its U.S. debut, Cherry Docs has been performed numerous times in Canada and was made into an indie movie in 2007 called 'Steel Toes' starring David Strathairn. Cherry Docs is the story of a Neo-Nazi Skinhead on trial for murder, and the Jewish attorney appointed to defend him. Tensions and animosity are high, since the men detest each other and all. But as the trial unfolds and both men strive for what they think is morally right, their beliefs are challenged and they begin to find somewhat of an understanding in each other. It's a fascinating character study, and always feels truthful.

The story is pretty intense and the two actors perform with conviction and strength. It's difficult to watch as the intensity peaks, but it held my attention completely for the entire 90 intermission-less minutes. I was consistently invested in the story, largely because the performances are so powerful. Mark Zeisler plays the lawyer, and has a pretty reputable resume including Brooklyn Boy and last year's eurydice at Second Stage. The actor who plays the skinhead (Maximilian Osinski) is making his New York theatre debut with Cherry Docs. Both are perfectly competent in their roles and really take the audience along on their emotional journey...it's impossible not to feel for these people.

Cherry Docs is just as entertaining as any movie about legal conflict and racial tension. Instead of Netflixing American History X, take your butt to see this play, and have a more visceral entertainment experience than sitting on your couch.

(Cherry Docs plays at the WorkShop Theatre's Mainstage, 312 West 36th Street, 4th Floor. Performances are through May 18th...Wed. through Sat. at 8pm and Sun. at 2pm. No performance Wed. April 30. Tickets are $11...visit theatremania.com to purchase.)

Honor (Hudson Guild Theatre)

BOTTOM LINE: An inventive look at an old story with some pretty good music and Broadway-caliber performances at bargain prices.

Honor is a new musical with music by Peter Mills and book by Cara Reichel and Peter Mills, presented by Prospect Theatre Company. Shakespeare's As You Like It is transplanted to feudal Japan where a young noble girl must disguise her self as a boy and uphold her family's honor while the man she loves also flees the kingdom to avenge her father's banishment. I know that it sounds a little like Mulan, but it's a lot more than that. The playwrights manage to very faithfully interpret Shakespeare's wonderful play almost scene for scene into a setting where all the characters have so much at stake. The setting also allows for some pretty bad-ass Samurai sword fighting!

I have to say that I had a pretty good time at this new musical. Diane Veronica Phelan, who recently appeared at Lincoln Center, and Ali Ewoldt, who recently appeared as Cosette in the revival of Les Miserables both have amazing voices and give performances that are well-worth the $20 ticket price. The show gets off to a slightly rocky start as it introduces all of the characters and sets the stage for the rest of the play, but once it gathers steam it's really interesting. There are some really beautiful moments, but that isn't to say that the evening isn't without some laughs as well. The moments of comedy in this show are really cute and quite funny.

The theatre is really nice for Off-Off Broadway. The only negative might be the location of the space. It's located at 26th and 10th, next door to a Housing Project. You read that correctly. Don't be alarmed though. It's totally safe, but don't think you're lost when trying to find the theatre. It is, in fact, next to a Housing Project, but well worth the trip. You'll be transported to a mystical world, you'll laugh, you might cry, and all for about the same price of two drinks in midtown. I say that's a pretty good deal.

(Honor plays at The Hudson Guild Theatre, 441 West 26th Street through May 18th. Showtimes are Thursdays-Saturdays at 8pm and Sundays at 3pm. Tickets are $20.
For Tickets and more infor, visit the theatre's website at prospecttheater.org.)

A Catered Affair (Walter Kerr Theatre)

BOTTOM LINE: Harvey Fierstein's new Broadway musical. It's touching and pretty but not very exciting...for those who enjoy a quaint, throw-back musical.

A Catered Affair is a nice, new Broadway musical starring Harvey Fierstein and Faith Prince. It's not the most dynamic piece of theatre, nor the most innovative, but it stands as a solid story with lovely music, an overall entertaining 90 minutes.

Written by Fierstein and based on a movie of the same name from 1956, A Catered Affair is the story of a wedding-gone-awry. Jane (played by Leslie Kritzer) is finally marrying long-term boyfriend Ralph (Matt Cavenaugh). The couple wants a simple wedding with a ceremony at City Hall, but both sets of parents decide they must have the full wedding she-bang. Money becomes a glaring issue as Jane's family doesn't have much and her father feels slighted being forced to pay for dinner for 200 guests, many of whom are strangers. Fierstein's character, Winston, oversees the ordeal as the generous, bachelor uncle.

The best thing A Catered Affair has going for it is a really solid cast of talented actors with powerful voices. The cast is consistently great. Faith Prince plays bitter 1950s housewife with strength and devotion through sorrow; she's fantastic and really takes charge of the stage. Actually, everyone captures their role with a great Leave It To Beaver panache (and has the vocal ability to back it up).

The second best thing going for it is the story. A Catered Affair might actually make a better play than a musical (as a whole, the music is pretty unmemorable). Watching the story unfold, I took a wholehearted interest in what was happening in these characters lives. Plus, hearing the tale of unhappy '50s housewife from the perspective of said housewife is an interesting vantage point.

If you have an affinity for old-school musical theatre, A Catered Affair might be the show for you. It's pretty and endearing but it probably won't change your life.

(A Catered Affair plays at the Walter Kerr Theatre, 219 West 48th Street; Mon., Wed., Thurs., Fri., and Sat. at 8pm, Tues. at 7pm, Wed. and Sat. at 2pm. The show runs 90 minutes without an intermission. For tickets click here. For more information visit acateredaffaironbroadway.com.)

From Up Here (Manhattan Theatre Club)

BOTTOM LINE: An interesting story with realistic characters in compelling relationships. It's also laugh-out-loud funny and socially relevant.

From Up Here is a refreshing piece of theatre in mid-April, 2008. I'm not sure it would seem quite as stimulating at another time, but for right now, it's a treat to see. From a theatrical standpoint, it's been a while since I've simply seen a story being told on stage, without bells, whistles, and video projections adding to or messing with the story's integrity. And from the perspective of the plot itself, From Up Here gives a unique vantage point on the very timely issue of violence in schools.

The story takes place in a typical Midwest suburb, at a typical Midwest high school. The playwright, Liz Flahive, carefully weaves the characters personalities so their interactions are believable and sincere. Tension is high on this particular morning as Kenny (Tobias Segal) is allowed back at school after he, months before, brought a gun to school and threatened to use it. Kenny's mom (Julie White) and step-dad (Brian Hutchison) try to keep things "normal" as he prepares to rejoin society and essentially begin a new life. Even though Kenny seems rehabilitated (though it's hard to believe he was ever capable of mass murder), he knows his peers won't accept him with open arms.

Adolescent angst is hard enough without the label of psycho-killer, and Segal plays Kenny with an uncomfortable edge while still letting us see his raw and genuine spirit. He's not a bad-guy, but rather a disturbed kid who illicits sympathy. At Kenny's side are his younger sister Lauren (Aya Cash) and world-traveling aunt Caroline (Arija Bereikis). Lauren is cynical and Juno-esque, and Cash brings out the conflicted attitudes of a 15-year old who is too aware for her own good. Caroline is a big hippie, and the only family member who assures Kenny that life will continue and inevitably improve after he gets through his teenage years.

The main reason I enjoyed From Up Here is because I actually cared about these characters and I wanted to know what would happen and how they would resolve their conflicts. The story never drills plot points into your head, nor does it expect you to pick up on inane details to understand what's happening. The exposition occurs at a comfortable, conversational pace and the dialogue is colloquial enough to ease you right in to these people's lives. Leigh Silverman's direction keeps the energy high and the talented designers (and sizable budgets) make it all realistic.

From Up Here is a well-crafted piece of theatre with the emphasis on telling a story, live and on a stage. Without the frills and tactics of over-produced theatre, From Up Here is what it is, an interesting story that sucked me in and won me over.

(From Up Here plays until June 8 at NY City Center, Stage I, 131 West 55th Street. Tickets are $75 and are available at the City Center website or by calling 212-581-1212. Student tickets are $25 and are available day of show, up to 1 hour before showtime...call the box office at 212-581-1212 for more info. Visit mtc-nyc.org to learn more about the production.)