The Goldberg-Variations

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The Goldberg-Variations by George Tabori (written in 1991, now having its belated New York premiere) is a confused and confusing conflation of Bible stories and backstage bickering amongst a playwright, his director, designer and actors.  Now at the Theater for the New City, the overlong production, directed by Manfred Bormann keeps the audience scratching their heads as each part of the Good Book is explored.

Goldberg (Derrick Peterson), the yarmulke-wearing playwright of the play- within-the-play, is first seen obsessing over his writing while the words “God is dead – Nietzsche” and “Nietzsche is dead – God” flash on the backdrop.

Mrs. Mopp (Alyssa Simon) interrupts his thoughts as she mops the stage being set up for the Garden of Eden scene in which Masch (Jeff Burchfield) and Raamah (Matt Walker) play opposite Simon who morphs into Eve.  The two men then become the nasty brothers Cain and Abel, racing about the stage frantically attacking each other.

Mr. Jay (Dana Watkins), the pompous, dapper director of the whole shebang strides in to take control and becomes more of a egotistic pest than a concerned artist.

Trying hard to visualize Goldberg’s vision is Ernestina van Veen (Simon again) the set designer who has to make due with a dirth of material and the confusing needs of the actors, the playwright and the director.  (Simon also plays the vividly outrageous actress Teresa Tormentina Superstar and the Golden Calf during the Moses Receives the Ten Commandments section.)

The Good Book tales follow one another awkwardly, climaxing in an astonishing Crucifixion scene in which Goldberg carries a huge cross through the audience, on to the stage and up to the platform where he proceeds to be crucified between Masch and Raamah as the two thieves.

The play is helped by the Holly Pocket’s witty costumes which range from Mr. Jay’s bright blue suit to the teeny-tiny fig leaf for Adam’s nether regions.

Mark Marcante and Lytza Colon are responsible for the sets and props, making the most of a simple black platform on wheels which, with the addition of fanciful accoutrements give comedic life to Goldberg’s vision of the Bible.  And, that huge crucifix—very well done, if a bit eerie!

Bormann did what he could to corral the play into a smooth-running whole, but Tabori’s writing is difficult to corral.  It’s never clear what his point is.  Is he satirizing the Bible or honoring it?  Are the theatrical cast members serious about what they are doing or are the all incompetents with outsized egos. Bormann goes for exaggerated takes, but never finds a unifying style.

The cast, which also includes a young Jee Duman as several characters and Mathew Seepersad as the sardonic Voice in the Booth, work hard to keep the frantic pace under control.  They all have strong personalities and are wonderfully willing to make fools of themselves to keep the play moving along as they make the most of a bunch of silly, but determined, characters.

All the elements of this Theater for the New City production are professional and first rate, but couldn’t overcome Tabori’s heavyhanded play.

Bits and pieces of Bach’s “Goldberg Variations” are played throughout the show, as if to anchor Tabori’s creation to its namesake.

The Goldberg-Variations (through October 6, 2024)

Theater for the New City, 155 First Avenue, in Manhattan

For tickets, call 212-254-1109 or visit http://www.ovationtix.com

Running time:  two hours without an intermission