Missa Solemnis or The Play About Henry

Jai Catalano as Todd and Matt Huffman as Henry Stuart Matis. Photo by Graham T. Posner.

BOTTOM LINE: An important issue, but that’s it- while the issue alone might be enough for some, if you are looking for engaging theater, look elsewhere.

Missa Solemnis or The Play About Henry is a play about a gay Mormon, Henry Matis, who committed suicide after struggling to reconcile his sexuality with his religion. Matis is only one of many gay Mormons who have committed suicide; clearly, the conflict between “same-gender attraction” and the Mormon church is one that should be discussed. And a great way of bringing awareness to this issue is through stories like those of Henry Matis. Unfortunately, playwright Roman Feeser, director Linda S. Nelson, and the company seemed to be most concerned with discussing the ISSUE, rather than telling us the story. And this is what makes Missa Solemnis (in my mind) so disappointingly unsuccessful.

The play opens with the five person cast (Henry, his two parents, his Bishop, and his lover) speaking to the audience. Knowing that this is based on true events, the opening feels very docu-drama- you get the sense that this portion of the text is taken from interviews and letters. It reminded me of The Laramie Project, in which the Tectonic Theater Project interviewed members of Laramie, Wyoming, after Matthew Shepard’s death, and then formed these interviews into a play I still remember vividly eight years later. A similar technique is used here, but the effect is little more than a series of talking heads: each character tells us his or her thoughts on Henry Matis’s death.

Unfortunately, the “talking heads” continue throughout the rest of the piece. Although the play soon switches to more traditional dialogue-based scenes between Henry and the other characters, we continue to learn about homosexuality, the Mormon Church, and the fact that they don’t go together. Nothing else is important, so nothing else is mentioned. Henry’s lover Todd is a gay man who lives in New York (that’s all we know about him). He likes Henry. Henry feels conflicted. The conversation focuses on this issue. When Henry speaks to his Bishop, they talk only about being gay and being Mormon. Shortly after we meet Henry’s mother, Henry comes out to her. Cue discussion. The next scene involves her telling Henry’s father that Henry is gay. Cue discussion. The entire play is a series of discussions about being gay and being Mormon. But after we learn that there is a conflict (if we didn’t already know this!) there is nothing else. There is a struggle going on within Henry. But we don’t see the struggle- we just see conversations about the struggle. This is most evident in the scene where Henry tells his parents he has a gun and he plans to kill himself. What happens after this new piece of information? More conversation. No raised voices. No crying. Just talk.

Included in the program is a letter from a professor at RIT about how the playwright “got the Mormonism spot on.” He writes about how Feeser “nailed the way traditional Mormons are frozen like deer in headlights when faced with anything that strays beyond the bounds of the narrow parameters of what is taught to be acceptable behavior.” He claims that the “complete inability” of Henry’s parents to deal with his increasing suicidal tendencies “is tragic and dead right.” This may be, but in order to understand this, an audience needs contrast- we need to see how other people DON’T act like frozen deer. Instead, the entire play is one long speech- it quickly becomes monotonous because it is all at the same level, in the same tone, and is directed at the same rhythm.

"Missa Solemnis" is latin, meaning “Solemn Mass." As such, it is an apt title for this play- the solemnity and seriousness of this piece is almost deadening. While some of the cast members (Matt Huffman as Henry, Warren Katz as the Bishop) are very talented and give terrific performances within the confines of the script, others seem profoundly amateur. The set design (by Marisa Merrigan) is well done. The play moves us through several locations: on one side of the stage is Todd’s bedroom, on the other side the Matis’ kitchen. Suitably stuck in the middle is a bedroom, which doubles as Henry’s bedroom (in his parents house) and Todd’s bedroom. The set makes explicit that this story is ultimately a war over where Henry should sleep, and with whom. And the lighting design was excellent: Graham T. Posner created a series of beautiful moments throughout the evening. Unfortunately, none of this makes up for the monotony of the piece, a monotony that I attribute to both the one-note script and the heavy-handed, unvarying direction.

I must be clear- I could hear several audience members sniffing back tears towards the end. I’m sure that some will find this piece incredibly moving. Certainly the line in a Newsweek article that inspired Feeser to write this play- “The people who had prepared his body for burial were struck by the sight of his knees, calloused from praying for an answer that never came”- is striking (and more memorable than anything in Missa Solemnis). And I must add that I applaud the effort to tell this story, which will hopefully create a forum for discussion. But then again, near the end of the play, when one of the characters says “let’s talk about something else,” I immediately thought YES!

(Missa Solemnis or The Play About Henry plays at The TBG Theatre, 312 West 36th Street (3rd floor) between 8th and 9th Avenues. The show is 1 hour 40 minutes with no intermission. Performances run Wednesdays-Saturdays at 8 pm, through November 22nd. Tickets are $18. For tickets visit www.SmartTix.com or call 212-868-4444. For more show info visit www.theplayabouthenry.com.)

A Body of Water (Primary Stages)

BOTTOM LINE: If you enjoy a good mystery, particularly the mystery of life, you will enjoy this play! But don’t expect it to be easy...

You may, or may not, be familiar with Lee Blessing’s Pulitzer Prize winning, Tony nominated play A Walk in the Woods. Maybe you had the pleasure of watching your regional theatre’s production of Blessing's Nice People Dancing To Good Country Music. If you are not familiar with either of these shows then what better way to introduce yourself to Mr. Blessing’s body of work than with Primary Stages' latest production of A Body Of Water?

The play opens with two seeming strangers who appear to have lost all memory of who they are and what, when, where, why or how they got there. Sound confusing yet? Well, in the hands of any other team A Body of Water could easily be muddied and unclear. Fortunately for us however, Director Maria Mileaf lends a helping hand with expert direction, along with gutsy and heartfelt performances by the three-person cast, and a dazzlingly simple set design by Neil Patel.

I won’t say that the play is crystal clear, but I don’t think that is Mr. Blessing’s intention either. “You know this is a play with a mystery...” says Blessing (in the handy-dandy insert, loaded with great Q & A and other interesting info, provided by Primary Stages in each program). He goes on to explain that the mystery this play presents is not to be solved, but rather the point is “about learning to live inside of a mystery.” Well, Mr. Blessing, mission accomplished! The play itself is a labyrinth of truths and untruths and for my tastes it was a fun maze to not sort out, but rather just watch and see happens at the end of an hour and forty minutes.

As the performance begins, we learn that Moss (Michael Cristofer) and Avis (Christine Lahti, of Chicago Hope fame) wake up to each other as strangers, in a strange home -- albeit beautiful, with a gorgeous, giant, picture window with a view of the most serene...well... body of water and trees. Patel achieves this intriguing view, which changes with every shift of light and color (kudos to lighting designer Jeff Croiter), with a massive digital print. The cozy stage, at the 59E59 Theatre is both eerie and warm at the same time. The grandeur of the picture window, center stage, dwarfs the audience (a.k.a. fly on the wall), while making the image of water behind and around it seem somehow infinite.

This set design lends itself well to the mystery of the play. Within the first two-seconds of the play conflict presents itself when Moss and Avis stumble on stage, in delicate bathrobes, and have either a mean case of amnesia or two of the worst hangovers in the world. Cristofer and Lahti, (who joined the production late), made a charming and humorous couple on stage as their characters awkwardly attempted to figure out who they are, and why they are there. Just as it seems that Moss and Avis might have a handle on things -- enter Wren, there to undo all of the trust Moss and Avis have only barely achieved with each other, by offering the possibility of answers to be accepted blindly because, well -- if they don’t know who they are, then clearly this other stranger must be able to tell them who they are, after all she seems to know who she is -- doesn't she? The play progesses, in Groundhog Day fashion, with Moss and Avis, restarting at square one, over and over, with Wren providing varying degrees of “help” each time. While there were moments of slightly over-the-top emotions, the choices were not altogether unjustified, and certainly did not take away from the performance.

On the whole, the production is wonderful, with excellent performances by all three actors with full commitment and clarity. Being that Blessing provides such a complex script, the clear through-line, ideas, and actions guided so carefully by Mileaf are of the utmost importance. Mileaf, with a history of working together with Blessing (Going to St. Ives, which received an Outer Critics Circle Award for Best New Play, 2005), understands this playwright in a way that few do. She makes sense of his chaos so that we, the audience, can just sit back and see what happens.

Throughout the play, both Moss and Avis attempt to figure out who they are, and why they are where they are, as they get thrown off course by someone who offers them “truths,” as they wonder about the large body of water outside the window, asking each other “Do you think it’s all one?” Oh, Mr. Blessing, how very Zen of you.... If you try to “figure it out,” I’m almost positive you will leave the theatre with one eyebrow raised and an imaginary question mark floating above your head as you walk home. If, however, as you sit in that darkened theatre, you simply accept this strange story and live inside the mystery as it unfolds before you I promise, while you may go home pondering many things, that imaginary floating question mark will be replaced by a real smile.

(A Body of Water plays at Primary Stages at 59E59 Theaters, 59 East 59th Street (between Madison and Park Avenues.) The show is 1 hour 40 minutes with no intermission. It runs until November 16 with varying show dates and times, Tickets are $60. Visit primarystages.org for specific info on show dates/times and tickets.)

Road Show (The Public Theater)

BOTTOM LINE: Worth seeing (for Sondheim fans especially), but it requires some patience and/or effort, and is probably not for everyone.

I’m hesitant to say much about Stephen Sondheim’s Road Show because I saw the third preview, and it may continue to change until it officially opens. Which would not be surprising- for those who aren’t familiar with Road Show, it had two previous productions- first as Wise Guys (at the NYTW) and then as Bounce (which did not play in NY). Clearly, Sondheim continues to retool this work, as he has done with shows like Merrily We Roll Along and Follies. Road Show is a new Stephen Sondheim musical (with book by John Weidman) which is cause for celebration in itself. And while mediocre Sondheim is better than most everything else, those expecting the emotional pull and artistry of Sunday in the Park With George or Sweeney Todd may be disappointed.

Road Show tells the story of Wilson and Addison Mizner and their efforts to seize opportunities and get rich, from the Alaskan gold rush in the 1890s to the Florida land boom in the 1920s. Although I did not see Bounce, judging from the liner notes the basic plot points have remained essentially the same in Road Show. However, Sondheim has re-purposed and rewritten much of the score, so the show now has a very different feel. From what I can tell from the recording, Bounce seemed to be a show about the Mizner brothers- each had a romantic partner, making the focus of the story fall on both brothers and their struggles and triumphs. Road Show, on the other hand, feels more about Addison Mizner (Alexander Gemignani)- his brother Wilson (Michael Cerveris) is now more of the thorn in his brother’s side, and functions more to drive Addison’s story forward, since whenever Wilson comes back into Addison’s life, Addison has trouble. Nellie, Wilson’s romantic partner in Bounce, is no longer a character, and the importance of Addison’s romantic partner, Hollis Bessemer (Claybourne Elder) now seems to take on greater weight.

Ben Brantley called Bounce “distanced and calculated” and he felt that Sondheim’s craftsmanship, rather than his artistry, dominated Bounce. I felt the same thing about much of Road Show- as opposed to many of Sondheim’s other works, because the first half of Road Show did not engage me as much as I might have expected. It was well-written, and interesting enough, but it felt more like a series of scenes in which we see the misadventures of the Mizner brothers. Indeed, I felt that the show really only started when Addison met Hollis on the train to Florida. Although this happened midway through the piece, everything up until then felt like a long prologue.

Road Show is directed by John Doyle, who became known to NY audiences for directing the recent Broadway revivals of Sweeney Todd and Company, in which the cast doubled as the orchestra (they don't here). The set of Road Show (designed by Doyle) is an enormous pile of boxes, filing cabinets, suitcases, trunks, and drawers. At times it seems like an enormous steamship, other times a city of skyscrapers, and other times just a pile of luggage on the floor of a train station. It might also be read as the caravan of a traveling theatre troupe performing their own “road show”, an idea supported by the roving ten-member ensemble, who play the various people the Mizners meet. Costumed in fabric printed with architectual sketches (again highlighting Addison’s increased importance- he is the architect), the ensemble spends most of their time as a background chorus- they sit or stand around this set, which often creates visually interesting tableaus.

To be fair, I think this is a show that will improve with additional viewings- one way of viewing Road Show ’s theme is to say that everything we do in our life- all of our stories and adventures and possessions and relationships- gradually accumulates and makes us who we are. So I think that only by seeing this show multiple times can one begin to appreciate the accumulation that takes place on stage. Nothing is thrown out- and Doyle highlights this throughout the evening.

One example of this is also one of my favorite directorial choices- characters repeatedly take piles of cash and throw it in the air to highlight a point or make a sale or just to communicate with each other. By the end of the show, the stage is covered with bills, highlighting the function of money in this story- the cash is simultaneously foundational necessity, worthless theatrical prop, and expendable commodity. And like this idea of throwing money around, much of Road Show can be interpreted as a metaphor for life in the United States. Sondheim’s Road Show is to some extent a story of American identity. Road Show veers back and both between cynicism and optimism, between scheming for money and honest work- indeed, it seems to parallel much of the double-natured characteristics of our so-called national character.

So is it worth seeing? If you’re a Sondheim fan, absolutely. Road Show has a score that is reminiscent of other Sondheim shows (Assassins, which also featured both Cerveris and Gemignani, is perhaps the most similar in tone). But it isn’t showy or immediately riveting- it is a score that requires attention. The entire cast is excellent, although I think Gemignani was my favorite- his Addison Mizner really roots the show. The design elements are all well done, and work well together. But I should be clear- Road Show does not immediately engage you, and if an audience is looking for emotional catharsis, they will probably not find it here. It goes without saying that Sondheim musicals are not for those looking for “mindless entertainment." But as opposed to some of his more “accessible” shows, like Into the Woods, or shows that work on several different levels (and therefore can appeal to broader audiences), like Follies or Company, Road Show may require some patience and effort. It has its rewards, but they are not immediately visible, much like the gold-filled Alaskan land in which the Mizners first seek their fortune.

(Road Show plays at the Public Theater, 425 Lafayette Street, near Astor Place. Show times are Sunday and Tuesday at 7pm, Wednesday-Saturday at 8pm, and Saturday and Sunday at 2pm. The show currently runs about 1 hour 40 minutes with no intermission. Call 212-967-7555 or visit publictheater.org for more info (there are some changes to the above schedule) and to buy tickets. Full price tickets are $70-$80, but student tickets and general rush are available.)

The Language of Trees (Roundabout Underground)

Gio Perez as Eben Trumble-Pinkerstone in The Language of Trees.

BOTTOM LINE: like watching an indie movie at a small theatre. The Language of Trees is a captivating story about realistic people thrown into an extreme situation.

The Language of Trees is the second installation of Roundabout Theatre's new audience initiative, Roundabout Underground. The idea behind Underground is to bring affordable, accessible new theatre to a younger, hipper audience, while at the same time giving new artists a place to grow and develop their work. Last year's Speech & Debate was the first performance in the series, and it was welcomed with glee by both critics and audiences. The Language of Trees is much deeper in context than Speech & Debate, but it resonates with the same connectivity.

Written by Steven Levenson and directed by Alex Timbers, The Language of Trees follows a family in the midst of a crisis. Set in 2003, dad Denton (Michael Haydon) goes to the Middle East to work as a translator in the war. His wife Loretta (Natalie Gold) and seven-year-old son Eben (Gio Perez) wait for him at home. Nosy neighbor Kay (Maggie Burke) nuzzles in and offers to assist the family since Denton is away; turns out Kay is lonely and needy too. When Denton's situation overseas becomes volitile and terrifying, Loretta, Eben and Kay are left to cope and rely on each other for support.

The nature of Underground's black box theatre at the Harold and Miriam Steinberg Center is intimate and personal. It's a small, dark space with low ceilings; the stage is only a few inches higher than the floor and only a few feet away from the first row of seats. As a result, it's hard as an audience member to distance yourself from what's playing out in front of you. The Language of Trees is sincere and powerful; it's impossible not to feel for these characters as they struggle to deal with loss and moving on, especially as you sit so close to the drama. With such a cozy space, the experience is much more vivid and palpable.

The Language of Trees has some wonderful moments. Levenson's script is smart and well-written, bringing the characters to life. It's not really laugh-out-loud funny, but it's touching and chuckle-inducing at times. The performances are overall great, especially Gio Perez as the precocious Eben. Physically, the clever set design uses the small space well. The lighting and direction are also well-utilized to expand the scenic necessities required to show multiple sets in locations a world apart. The production is acutely presented, and makes for a quality night of theatre...you definitely get your money's worth for a mere $20 per ticket.

The show is not without problems though: mainly some emotional holes in the plot ("shouldn't she be sadder?") and age discrepencies (Gio Perez looks more 17 than 7...you're warned now so you won't be distracted for 20 minutes like I was). But the little issues that arise are minor compared to the heart of the story. Levenson and Timbers are in their 20's. Their fresh take on theatre is energizing...they should be commended on a wonderful job with this show. The Language of Trees is provocative and engaging; it's for those who like their enterainment with a side of intellect that doesn't hit you over the head. And again, tickets are only $20.

(The Language of Trees plays at the Black Box Theatre at the Harold and Miriam Steinberg Center for the Arts, 111 West 46th Street between 6th and 7th Avenues. Show times are Tuesday through Sunday at 7pm and Saturday and Sunday at 1:30pm. The show runs 1 hour 40 minutes with no intermission. Visit roundaboutunderground.org for more info and to buy tickets.)

The Files (59E59)

BOTTOM LINE: An important look at censorship and the power of art to transcend from one of Poland’s leading alternative companies… but, there’s still something lost in translation.

I have a good friend whose mother was regrettably made the local Censor of the Arts during the communist domination of Mongolia. Luckily her mother had the good sense to take her children to see all the shows she was about to censor beforehand. Artists have always found themselves on the forefront of a constant battle between those who demand we ask the tough questions and those who would prefer we quietly accept our political fate. Like their Mongolian brothers to the east, Poland also had to deal with state mandated opposition to any voices of dissent during that “Communist mumbo jumbo” as the production The Files puts it in Theatre of the Eighth Day’s new addition to 59E59’s Made in Poland Festival.

One of Poland’s leading Avant Garde theatre companies, Theatre of the Eighth Day (founded in 1964), found themselves the unwitting subject of secret police monitoring during their student theatre days in the '60s and '70s. They were spied on and harassed, their homes were searched, and they were constantly monitored due to their oppositional stance to the current communist regime. Recently, the police files on their activist and anti-communist student theatre days have become public record and the company explores them in their current production, The Files; a documentary theatre piece that incorporates the dim-witted secret police communiqués, letters the company wrote at the time, video footage of their famous productions from the '70s that were under scrutiny by the authorities, and the re-enactment of old texts by their now 50 year old selves.

The video footage of Theatre of the Eight Day’s productions in the 70’s, “We have to Confine Ourselves to What has been Called Paradise on Earth…?!”, “A Sale for Everyone”, and “Oh, Have We Lived in Dignity”, are incredible to behold. The theatricality and the bravery of these young actors provide a ghostly snapshot of an era of paranoia and the power of art and artists to inspire, comfort and incite their audiences. The production’s most successful moments involve their archived video footage.

In fact, I would argue that the piece works better as a documentary film then in its current theatrical form. It’s a compelling story, one that should be told and must be told, but the pacing in its current form fell flat. Maybe something was lost in translation; the recounting of letters and texts spoken in English by Polish actors would naturally slow the pace down, although when one of the actors performs a section of text in Polish, it was completely riveting. There are moments of real theatricality, the opening sequence as the older actors enter the stage while we watch footage of their younger selves being introduced behind them to rousing applause or another comic and highly physical scene with actors spying and peeping into each other’s coat pockets.

And yet…most of the play seems to settle itself into a staged reading format, with actors seated on stools at music stands reading their own letters from the past and recounting the secret police investigations of their work. In these instances the play slows down to lecture pace and it seems the company relinquishes one of its greatest assets, the strong and compelling theatricality for which they are known. When I looked at the company publicity materials of their recent productions in Poland which are so visually arresting and inherently theatrical, I wished I could have seen those shows!

There is, however, something very moving about seeing a group of artists remain devoted to their art form and to each other for over 40 years, despite many of them having to leave Poland for a time. In the U.S. companies come and go so quickly and the arts are so rarely supported, especially within the alternative downtown scene, that theatre is often the stomping ground of the young. How incredible to see actors in their 50’s still making explosive avant-garde work. And to see these actors, Ewa Wojciak, Adam Borowski, Tadeusz Janiszewski, and Marcin Keszycki, relating to their younger on-screen selves added a fascinating component to this production. It’s an important lesson, especially for young artists, of the need to tell our stories despite horrific odds. I just don’t know, for this particular piece, if they found their right medium.

(The Files is presented by Theatre of the Eighth Day and the Polish Cultural Institute in New York as part of Made in Poland at 59E59 Theatres, 59 East 59th Street. The show runs until November 9th, Tuesday through Friday at 8:30pm, Saturday at 2:30 and 8:30pm, and Sunday at 7:30pm. For tickets call 212.279.4200 or visit www.ticketcentral.com. For more info visit 59e59.org.)

Harm's Way (45th Street Theater)

BOTTOM LINE: Powerful, Intriguing, Sorrowful….GO SEE THIS PLAY!

Circus Theatricals is a theater company that produces thought-provoking and important work. Harm's Way has it all: an intriguing story, an extremely strong ensemble of actors, smart playwriting, and flawless direction. The play deals with many subjects including the complexity and hypocrisy of war, incest, loss, corruption, and familial dysfunction; army prosecutor Major Jonathan Fredericks investigates possible war crimes committed by U.S. troops against Iraqi civilians while trying to take care of his “simple” and troubled daughter.

All of playwright Shem Bitterman’s characters are compelling and well-developed. Jack Stehlin is perfectly cast as the sorrowful and tough Major Jonathan Fredericks. Wendy Makkena keenly comprehends her complex character, reporter Constance Durrell. Ben Bowen simultaneously plays Private Nick Granville with sweet innocence and pernicious danger. Sarah Foret conveys the purity and emotional intelligence of the Bianca Fredericks beautifully.

Roger Bellon’s original music really added to the tone of the play. Bellon’s transition music between scenes, juxtaposed with Zuckerman’s seamless set changes, makes the journey of the play flow effortlessly. Derrick McDaniel’s brilliant lighting design is complete with an ambulance light in the back of the audience to reinforce the feeling of the tragedy that has just occurred.

Not only would I recommend this play, I would also recommend the companion play running in rep, Man.gov. I have not seen it yet but I have that much confidence in Circus Theatricals. Also, tickets are only $18.

(Harm's Way and Man.gov run in rotating repertory until November 9th at The 45th Street Theatre, 354 West 45th Street between 8th and 9th Aves. Visit www.circustheatricals.com for a complete performance schedule. Tickets are $18 and can be purchased by calling 212.352.3101.)

The Cyclops (The Red Room)

BOTTOM LINE: Silly, Different & Campy

Haberdasher Theatre Company does not take itself too seriously. Their most recent camped up production of The Cyclops would almost work for children's theater. The exaggerated characterizations exhibited by every actor make the text accessible to the average audience member. The set by Keri Taylor looks like cut-outs from a children's story and encourages the audience to view the play from a child's perspective.

The cross-gender casting by director Neill Robertson is refreshing! Actress Mary Elizabeth Fields stands out as the hilarious and extremely nerdy Odysseus. Hollie Klem's physicality and facial expressions as Silenius are very impressive while the Satyrs, played by Sara Gaddis, Christen Madrazo, and Kerry-Jo Rizzo, are a very strong ensemble.

I had mixed feelings about the cyclops (played by Nicholas Panagakos) being played as a queeny, gay man. Panagakos' attitude, complete with stunning make-up, snapping, and insanely high platforms, keeps us highly entertained. However, I never sensed true fear of this character, which I feel the play needs in order for the text to be served.

Overall, Neill Robertson's costumes and make-up design is fabulous. I applaud Robertson for his bold choices in casting and for daring to make classical theater fun for a modern audience.

(The Cyclops plays October 16, 17, 18, 23, 24, and 25, 2008 at 8:00 p.m. Tickets are $20.
Call 212-252-2322 for more information or go to www.haberdashertheatre.com.)

Rock of Ages (Brooks Atkinson Theatre)

(Editor's note: This review was written for the off-Broadway production of Rock of Ages at New World Stages. A new Broadway review of the show will be available shortly.)


BOTTOM LINE: Go to rock. Totally bitchin' fun that shouldn't be taken too seriously.

It's the mid-late 1980's. One of the hippest rock and roll bars on the Sunset Strip faces demolition at the hands of evil German developers. What's the solution? Throw one final all-out rock concert to save the day. Throw in some leather pants, jean vests, strippers, a hippie, and some killer guitar shredding and you've got Rock of Ages, the newest musical to play at New World Stages. It's a fun filled night that rocks pretty hard. When the lights go down you actually feel like you are at a rock concert; the musical numbers are totally rad. The story that links them together is pretty lame, but you don't really care. The musical numbers are just that much fun.

The set list is packed with one awesome power ballad and metal classic after another. Some of my favorites include: Sister Christian, We Built this City, More Than Words, I Want to Know What Love Is, Here I Go Again, Every Rose Has It's Thorn, Can't Fight This Feeling, and many more! It sounds like one of those cheesy late night infomercials for some album like: "Man The '80s Rocked," and the music really is that good. Ethan Popp, who does some pretty killer musical arranging, assembled a kickass collection of songs. Literally, ever time there was a musical number, I thought, "I love this song!" When you enter the theatre are you given a squeeze lighter to wave as you see fit, and you will want to put that bad boy to good use.

The cast is filled with Broadway veterans. Leading the pack is Constantine Maroulis from the fourth season of American Idol and Broadway's The Wedding Singer. He does a pretty good job trudging his way through the awkward book, but really shines when he gets to do what he is best know for...sing. I expected Maroulis to be good, but there were a few moments where he really sang the hell out of the music and I was pretty damned impressed. Mitchell Jarvis channels his inner Jack Black to serve as the evening's narrator and he delivers the best musical moment of the show with his interpretation of "Can't Fight This Feeling." Jarvis flexed his rock star muscles previously in Prospect Theatre Company's The Rockea (I hope the success of Rock of Ages will fuel a larger scale remount of that smart, rockin show). But I digress. Lauren Molina, who recently appeared in the Tony Award winning revival of Sweeney Todd as a classical soprano, lets loose belting out such songs as the Twisted Sister anthem "We're Not Gonna Take It" with great enthusiasm. Every member of the cast dances and rocks their hearts out. Savannah Wise has one featured moment where she sings her face off that left me wishing the rest of the ensemble was featured even more.

I love the music of this era. I think it is awesome. If you think that guitar shredding and power chords are lame, then this probably isn't the show for you. If you want to kick back and rock harder than you have during any other musical, go see Rock of Ages. If you want an intellectually stimulating night of the theatre, you should probably look elsewhere. Rock of Ages is everything that you expect and hope it will be...fun. Go with a group, grab some drinks beforehand, and have a great time.

(Rock of Ages plays at New World Stages, 340 W 50th Street. Perfomances are Monday, Wednesday, and Thursday at 8:00pm, Friday at 7:00 and 10:00 pm, Saturday at 2:00 and 8:00pm, and Sunday at 3:00pm. Tickets are priced from from $46.50-$80.50 and a limited number of $26.50 rush tickets are available at box office day of show only. Tickets can be purchased through Telecharge at telecharge.com or by calling 212.239.6200. Visit rockofagesmusical.com for more show info.)

Chekov Lizardbrain (The Ohio Theatre)

BOTTOM LINE: Downtown theatre at it's best. Edgy, intelligent, slightly bizarre and entertaining.

The latest import from Philadelphia's Pig Iron Theatre Company is currently playing to a sold out run at The Ohio Theatre. Chekov Lizardbrain tells the story of an eccentric man who wants to buy a home from three brothers grieving the recent loss of their mother. The creators of this piece take a minor character from Checkov's The Three Sisters and put him in the forefront of this tale. He doesn't know how to properly relate to others which complicates matters when his story is told in present day and in the style of Chekovian drama where no one says what they mean and biting subtext runs rampant. The actions starts in a Safeway in small town USA where the characters enjoy an afternoon tea and discuss the the selling of the family home. From that moment, the audience is taken on a whirlwind ride through the human conscious where the action switches from contemporary drama to Chekovian where you might not always know exactly what is happening, but you will no doubt be fascinated.

All right, if you don't know who Anton Chekov is, here is a very brief and off-the-cuff summary of what you will need to know to enjoy this play. Chekov is one of the most famous playwrights in the world of theatre. He's right up there with Shakespeare for some. The characters in his plays rarely say what they are actually thinking. There are two sometimes three layers of subtext that are being played in a single line. For example: if someone in a Chekovian play asked someone, "How are you feeling today?" The other character might reply, " The weather is frightfully cold for this time of year." So, obviously this could be taken in many ways: I feel awful, I don't want to tell you how I feel, I'm emotionally dead inside, You're rude for asking me, I'm actually happy but feel about it, The weather actually is frightfully cold for this time of year, or myriad of other meanings. So, you can imagine the difficulty that one would face if they had trouble reading human emotions and intent and then were thrown into the world of Anton Chekov. And that's what makes this piece so damn intriguing.

You may be asking yourself, "Why the hell is this play called null null?" Well, the play explores the principal that the human brain is divided into three sections: The upper half-the Human; the middle-the Dog; and the lower-the lizard. This lower part of the brain is the basest form of brain interaction and the point from which the other parts of the brain evolved. From my understanding, the upper parts of our brain control the lower, simpler parts of the brain. Our main character is clearly more in touch with the lowest part of his brain and doesn't fully understand human interactions. If that doesn't make sense to you, that's all right. I don't know that I fully understand it but I still loved this show.

It's not often that a play accepts that an audience will run with lofty neuroscience theory and have a knowledge of the basic principals of Chekovian drama and style. It's hard to talk about all of Chekov Lizardbrain in a short written form. After the show, I was so excited about what I had just seen that I wanted to talk about every aspect of it. The technical aspects were amazing for such a small theatre. Anna Kiraly's set was beautiful and probably one of the best sets that I have seen for an off-off-Broadway Show. It was warm, inviting, and very innovative. James Clotfelter's lighting design was on the same superior level as well. He captured the playful and eerie character of the piece with flying colors. The ensemble of actors, who also helped create the piece, hit the nail on the head with their performances. James Snugg created one of the most bizarre characters I have seen in a long time with his incarnation of Chekov Lizardbrain. I also particularly loved Geoff Sobelle's portrayal of the youngest brother Sascha. He played the Chekovian ingeniue to a tee and then turned around and delivered an honest, angsty portrait of a man facing middle age and a scary new chapter in his life. Dan Rothenberg directs the wacky ensemble in a smart, controlled balancing act of non-realism, comedy, and contemporary drama.

I think that Chekov Lizardbrain is everything that "Downtown" theatre should be. It's smart, gritty, thought provoking, fun, and pushed the theatrical envelope in a way that few shows do. If you like innovative theatre, and aren't afraid to be challenged a little, then you will fall in love with Chekov Lizardbrain. I am totally pumped to see what else comes out of Pig Iron Theatre Company. Thank you to the SoHo Think Thank for recognizing that there is a void in smart avant guard theatre in New York and that people do want to see it, as is evident by the sold out run of Chekov Lizardbrain. I hope beyond all hopes that we will see more work from these creative guys here in New York again very soon. If not, Philadelphia isn't that far away, and if you are in the area, you have to check out what this Theatre Company is up to. I hope that the run of this show is extended so that more people can experience this truly unique theatrical experience.

(Chekov Lizardbrain plays at The Ohio Theatre, 66 Wooster Street. Showtimes are Sundays 2pm and 7pm, Tuesdays-Thursdays at 8pm, Fridays at 7pm and 10pm, and Saturdays at 8pm
For ticket Availability call 212-868-4444 or visit smarttix.com. Find out more about Pig Iron Theatre Company at pigiron.org.

All My Sons II

BOTTOM LINE #2: Better Than Equus

(Molly and Dan both saw All My Sons and loved it- so much that we wanted to review it twice.)

When I first heard about this production, I didn’t care one way or the other about Katie Holmes. Since I wasn’t familiar with Miller’s play at all (and only knew Holmes as part of TomKat), I had no opinion about whether or not she could do the role. But I DID know of Simon McBurney (the director)- I have seen several of his shows, and found them to be some of the most memorable theatrical experiences I have ever had. But before I explain why McBurney’s direction is so terrific, and why it makes for a thrilling evening, let me briefly touch on the incredible acting in this show.

I’ll echo Molly and say that Katie Holmes is actually quite good. Even better is Patrick Wilson. But for me, they were both overshadowed by the unforgettable performances of John Lithgow and Dianne Wiest. It’s fairly early in the season, but I bet both are shoo-ins for Tony nominations- they are that good. The Keller parents are the center of Miller’s play- they are the most complex characters, with past experiences that ultimately inform and dictate the events of the play. And Lithgow and Wiest are incredible as they release the pressure, pressure built-up over years and years of “normal family living”, of sacrifice and compromise and hope and despair. I still can’t get one of the final images out of my mind- that of Wiest curled up in a chair, watching as her family crumbles around her. (And before I forget, one of the supporting players is Danielle Ferland- if you have ever seen the video of the original Broadway Into The Woods, or listened to the recording, Ferland played Little Red Riding Hood. She was also the young girl in the original Sunday In The Park with George.)

But aside from these performances, there is McBurney’s direction. For those who aren’t familiar with his work, McBurney heads up a theater company called Complicite; based in London, their most recent NY productions have been The Chairs, Mnemonic and The Elephant Vanishes. While Complicite’s work is often characterized as “experimental”, I have always found it more visceral and moving and (dare I say it) accessible than a lot of other experimental work (The Wooster Group, for example). And what I love about McBurney’s work in All My Sons is that he weaves the “experimental” sensibility of Complicite productions through a Broadway production of a play by Arthur Miller (i.e., something that is not “experimental” at all).

The performance begins with the house lights up, and the cast all walks onstage. John Lithgow starts talking to the audience as himself (and not Joe Keller), introducing us to the play and reading the opening stage directions. The cast walks off stage, the house lights dim, and the “play” begins. In these opening moments, McBurney calls our attention to the divide between our real world- the Schoenfeld Theater in 2008, and the artificial world of Miller’s play. This theme continues throughout the evening. The set consists of a square green lawn bordered on three sides by bare stage, and whenever a character runs off stage, they stop at the edge of the stage set, pause, and then walk calmly offstage. In other words, we actually see “Kate Keller” become Dianne Wiest. In this way, McBurney draws our attention to the boundaries of the Keller family’s world- their backyard- as if the Kellers were trying to contain their actions within their family.

But as much as he sets up these boundaries, McBurney also breaks them- several times during the play, company members enter the playing space- not as neighbors of the Kellers, but out of character, often en masse, as if they are members of “society” judging what they see on stage. The boundaries do not hold up- the actions of the Kellers have implications for their larger community- a community that includes their neighbors on the street, the actors in the play, and ultimately, the audience. Yes, this play is extremely relevant to current political and global events. But McBurney does not just let us rest by remarking to ourselves “wow, this play is timely!” He goes further and implicates us in these events, making for a much more thrilling evening.

And finally, through the use of projections and an incredible sound design (I wouldn’t be surprised about a Tony nom. here as well), McBurney knows how to craft an experience- not just something you watch, but something you feel. There was at least one point where I felt my heart race, my breath speed up, and then my hand went to my mouth- McBurney actually makes you gasp as every element suddenly comes together in a way that is both unexpected and inevitable. Go see All My Sons. It may be one of the most exciting performances you see in a long time.