The problem with the show is two-fold: first, it doesn’t have anything new to say about dating other than trying to turn it into a cabaret commentary, and visually the show looks the same throughout with the staging having Lucy sit at the same place at the table and the 16 men (all played by the versatile Taylor Crousore) sitting or standing opposite her. None of his men are allowed to be charming or ingratiating, not only showing the negative side of modern dating, but making a great deal of this one-act musical feel too much the same. [more]
The spate of Sondheim shows both this past season and opening this fall is given prime place in this musical revue. Unsurprisingly, the new "Merrily We Roll Along" which ran all of last season comes in for the most ribbing as the subtitle hints. Collins-Pisano plays Daniel Radcliffe in a parody of the show’s “Good Thing Going” and then is joined by Stern and Hayward as his co-stars Lindsay Mendez and Jonathan Groff as they review the troubled history of the show which famously flopped in its first Broadway iteration in 1981 in a revised version of the song “Old Friends.” Collins-Pisano sings to that show’s “Franklin Sheppard, Inc.” about Radcliffe's stage career after the Harry Potter films. This is followed by a tribute to "Company" which had a female Bobby to the tune of “Bobby, come on over for dinner.” Most if not all of the "Forbidden Broadway" revues have featured one of its actresses as the ubiquitous Patti LuPone and here we have Stern belting “The Ladies Who Crunch,” the scenery that is, satirizing "Company"’s most famous song. [more]
Quintero who obviously knows his Greek plays and Greek mythology is extremely faithful to the original myth and to Euripides’ play. What he has added is a contemporary vernacular all in rhyme, music played by two guitars and a beatbox, and the odes of the chorus presented as song. This gives the 2,500 year old story a modern sensibility, often lacking in productions of Greek tragedy. Although Quintero has had a career as an actor, particular at the Hudson Valley Shakespeare Festival the last five summers, what is most remarkable is that this is his first work for the theater, both as playwright and composer. Medea Re-Versed looks and sounds like the work of an experienced dramatist of many years standing. [more]
Levin’s lyrics have unusual and surprising rhyme patterns which add to their interest. The powerful score with music by Ron Abel (who also plays a mean piano with the orchestra of five which sounds much bigger than it actually is) is performed by big talent: Lianne Marie Dobbs’ Dominique, Ben Jones’ Michael Boardman, Maya Lagerstam’s Olivia and Allyson Kaye Daniel in a series of roles including that of the Evangelist impress with the size of their voices and their technique. The uncredited orchestrations include violin and bongo solos which add texture to the songs. [more]
The revue alternates between skits by James Hindman and Lynne Halliday and songs with music by Jeffrey Lodin (who is also the music director at the piano) and lyrics by Mark Waldrop, the intrepid director. While the material is diverting and entertaining, it feels derivative rather than original. There appears to have been an attempt to not offend anyone so that everything is rather low key and tame. Some of the tropes though pertinent have already been dramatized: “To You, My Friend,” sung by two women at a college reunion, resembles but feels like a pale imitation of Jerry Herman’s “Bosom Buddies” while “Gonna Get the Band Together” suggests the 2018 Broadway musical with a similar name. “Reunion” in which two old friends reminisce has too much the feel of a "Saturday Night Live" skit. [more]
Seemingly not trusting the material, director Brian Mertes has used all kinds of stage gimmicks including having the two actors photographed live by a team of three videographers whose equipment runs on a track around one side of the stage while a huge screen covers the second half on which we see the actions of Wood and Curran blown up to one story high. (Aside from the distraction, those who sit in the audience on stage left may find this blocks part of their view.) The meeting at Trump Tower which precipitates the ostensible action is played by the two actors and six miniature (nude!) puppets by famed designer Julian Crouch. At various points the two actors enter a booth in the back of the stage for no explained reason, as if in a session at the United Nations. There is also unexplained dancing and singing that seems to have little to do with the events at hand. [more]
Director Nicholas Viselli has done well with the characterizations but is unable to resolve the thinness of the backstories which are not fleshed out by the script. The shallow set which has most of its furniture and appliances lined up across the stage makes some of the blocking awkward and repetitious. Making her Off Broadway debut as Libby in the role that won Dinah Manhoff the Tony Award, Makenzie Morgan Gomez is spunky and quick with the retort. She has a breezy, wise stage presence. Her use of a wheelchair and a cane is no problem to the character but when she says that she has hiked and hitched her way across half of America one wonders if this is realistic. And today in 2024 do 19-year-old women risk hitching alone that distance? [more]
In this tour de force, Izzard has come up with a different voice and stance for each character: King Claudius is a baritone, Lord Polonius has a limp, Lady Ophelia has a somewhat breathy speech pattern while Queen Gertrude is very emotional. The gravediggers are given two different lower class accents and the humor in the scene is still very vivid. The courtier Osric, who is usually played as somewhat fey, waves his hands around a great deal. The duel scene between Hamlet and Laertes in the last act is mostly successful but eventually it becomes difficult to figure out who is winning and who is losing. [more]
Playing women of a certain age, four women stars of stage and screen who became famous a while ago play friends of a certain age who meet for a birthday brunch in Sandra Tsing Loh’s "Madwomen of the West." The ensuing hilarity will be of most interest to baby boomers who still worship Gloria Steinem, Mary Tyler Moore and Hilary Clinton, but others will also find this an entertaining show as breezily directed by Thomas Caruso. The roles fit actresses Caroline Aaron, Brooke Adams, Marilu Henner and Melanie Mayron returning to the New York stage so well that one might think they were playing facets of themselves or of their screen personas. [more]
"The Jerusalem Syndrome" is a pleasant new musical comedy with some fine clever songs and good comic moments. However, Don Stephenson’s production does not take the farcical elements far enough nor does he allow the cast to really have fun with their wacky roles. Playing this material mainly straight undercuts the inherent fun in the premise and plot as the Jerusalem syndrome is ripe for satire. [more]
It takes an artist of the stature and extraordinary talent of Wiest to keep Caswell’s fragmented play from flying off in all directions as it veers from reality to fantasy and from flashback to the present. Or, is the entire plot, which takes an embittered 75-year-old widow from the depths of the Mid-west to the depths of Hollywood, just a figment of her yearning imagination? The tale of Meryl Kowalski (both names exuding meaning) is of the oft-told a-star-is-born genre: an unknown hopeful, through lucky breaks and gumption, manages to become a movie star. Sounds simple, right? Not here. Caswell ("Wet Brain' and "Man Cave") will not allow her story to be told in a linear fashion. [more]
In its earliest scenes--as a Marvin Gaye record spins on the turntable, Adam Honoré's lighting design pairs naturalistically with Wilson Chin's meticulous set, and Dominique Fawn Hill and DeShon Elem's beautifully redolent costumes delight our eyes with vibrant patterns--"This Land Was Made" achieves an authenticity that makes you want to sit at the bar and order some lunch, too. Ironically, it's when Newton (Julian Elijah Martinez) and his comrade Gene (Curtis Morlaye) enter the story that the play's verisimilitude begins to come undone. Abandoning realism for audacious dramatic license, "This Land Was Made" turns into an intellectual showdown between Newton and Troy, with the latter becoming entangled in the fatal incident that led to Newton's imprisonment. [more]
The music is well-done, with the songs fully integrated into the storyline and lyrics that help define essential elements of the character's nature and are filled with inside Star Trek references and jokes. For example, when Theerakulstit skillfully sings "Young," entirely in character as Kirk, we hear Kirk as an older man regretting getting old and no longer able to be the arrogant swashbuckling starship captain of his youth. When we meet Khan for the first time, Kropp sings “My Wrath,” which gives a history of how he came to be in this place and the reason for his extreme anger at Kirk. Although many of the references will be missed by a non-Star Trek audience, the songs are well-constructed, and more importantly, they are sung by a cast that knows how to sing on key and on pitch. While you may not leave the show humming a tune, they are the types of songs that one will return to without getting bored. [more]
Directors Noah Brody and Emily Young, both of the Fiasco Theater, have neatly trimmed the dialogue and some of the minor characters so that the play comes in at two hours and 15 minutes. However, they have made some choices that work much less well. Except for a rolling doorway to designate Merrythought’s home, Christopher Swader & Justin Swader’s scenic design does not differentiate one scene from another due to its lack of design elements. Other than the musical interludes, the productions lacks atmosphere in all its scenes. They have also used doubling and tripling to the point where it is difficult to keep straight who most of the actors are when they appear on stage in this play that has probably never been seen by most members of the audience. Most distracting is actress Royer Bockus playing three male roles – Merrythough’s son Michael, Little George, and a Servant as well as a horse named George. The role of Venturewell has had a change of gender but as Tina Chilip is still called “Merchant” but does not suggest one in her 17th century matron costume, this remains a little disconcerting. Characters who play major roles in one scene return to play minor roles in others which is more than a little confusing. [more]
The direction by Nicholas Viselli ultimately misses a key point in this plot, which is that Alan and Annette should be staged as perpetually trying to leave Veronica and Michael’s apartment. These two couples are strangers to each other; they are not friends or even acquaintances. Yet the staging plunks the four of them together with too much familiarity and intimacy. Their situation does not call for them to remain in each other’s company for so long, or for backrubs to be exchanged, etc.; it’s just not believable. The entire premise of the plot is made implausible by blocking and acting choices that should have been redirected. [more]
Mary Elizabeth Hamilton’s Smart has an interesting premise but does not carry out its goal turning quickly into a domestic drama and later a bittersweet love story. The two acts seem to be two different plays while the sketchy characters do not give the fine three actresses much to work from. Even the production values get in the way of understanding the play. Hamilton has a good ear for dialogue but needs to work on plotting and characterization in order to make this a satisfying theatrical experience. [more]
Although the women grow up and change over the 26 years we see them, Heifner’s book tends to stay away from politics and the women’s movement other than mentioning markers like Kennedy, Nixon and Bob Dylan. However, the dialogue is bright and lively. The show is definitely a period piece ending as it does in 1990 but there are probably women who still live these lives. While in no way taking a feminist point of view, the characters do evolve and change over the years. [more]
The problem with this production is that although the characters’ behavior is utterly outrageous on the verge of satire, Berger has directed in so flat and bland a style, that shocking lines that should get embarrassed laughter fail to make any impression. Has Berger directed the play absolutely straight knowing that his audience is unlikely to be familiar with it? It would be more fun and rewarding if was as over-the-top as the murderers’ plotting. [more]
In the most elementary explanation of a play’s dramatic structure, the protagonist is the character who drives the action and is the emotional heart of the narrative. Everyone knows how the play "Othello" is going to end, so really the artistic and entertainment value hinges on whether an audience can sympathize with Othello as he is manipulated by the extent of Iago’s hatred for him. Unfortunately for Eliott Johnson as Othello, we meet him as the already heralded general of the Venetian army but witness nothing heroic about him. This monotone Othello doesn’t even raise his voice until Act 3, Scene 4, with “Zounds!,” an epithet meaning God’s wounds, and only upon his exit after confronting Desdemona about the missing heirloom handkerchief. [more]
Eduardo Machado’s 11th play to premiere at Theater for the New City is called "Not About Me" which is a complete misnomer as it is about his life for the last 40 years with his alter ego at its center. Marketed as a “memory play that takes audiences on a haunting journey through the mind of a playwright during Covid-19 lockdown,” in fact, it is about his friends who died during the last pandemic, the mysterious “gay disease” that came to be called AIDS. Other than as a tribute to those lost friends, it is difficult to see the message of the play as it depicts a great deal of risky behavior. [more]
The York Theatre Company’s masthead reads “Where Musicals Come to Life…” and that couldn’t be more evident in their new production, "Hoagy Carmichael’s Stardust Road." Originally scheduled for a Fall 2015 run at London’s St. James Theatre (cancelled due to a key investor pulling out), then workshopped during a summer student production at Indiana University’s Department of Theatre, Drama and Contemporary Dance in 2018, the show finally arrives in a beautifully crafted production at York’s Theatre at St Jeans, deserving of an open-ended run or commercial transfer. Conceived by director Susan H. Schulman, choreographer Michael Lichtefeld and musical arranger Lawrence Yurman, and developed with Hoagy Bix Carmichael (Hoagy’s son), "Hoagy Carmichael’s Stardust Road" succeeds not by showing the audience another “And Then I Wrote” compendium, but by allowing the endless riches of the Carmichael songwriting catalogue to say it with music. We are treated to five extended “parts” where we meet seven characters, all friends, as they traverse the decades from the 1920’s to the 1950’s, through every high point and every heartache. [more]
Boy! This is going to be a tough review to write. The York Theatre Company, which has such a strong track record when it comes to honoring important songwriters, is currently presenting a revue of Hoagy Carmichael songs called "Hoagy Carmichael’s Stardust Road." Carmichael (1899-1981) is one of the greatest of American songwriters. No one’s done an overview of Carmichael’s work in many, many years. So, this production is important. The show should be a natural. But developing a show isn’t always easy. This will likely be the longest review I’ve ever written about a single show; but the show merits a detailed discussion. The production I just saw has significant flaws, as well as significant strengths. I hope the show can be further developed so it can fulfill its potential. [more]
Cale’s story uses many film noir devices from the 1940’s: exotic locale, strange encounters, searching down unknown streets, disappearing characters, a sexy stranger, danger signals avoided, clues that don’t add up, information that turns out to be fallacious, a damsel in distress, stolen objects, moments of high passion, etc. Yet all seem to be used as if for the first time. The elements are time tested, but the story is new. Cale is an excellent storyteller pulling us in with enough hints and clues to keep us interested until the very end. There are moments that sag but he always pulls out us into something new and unexpected. [more]
Ensemble Studio Theatre’s "38th Marathon of One-Act Plays," their first since 2019, is split up into two programs of five plays each, with an eleventh play, Vera Starbard’s “Yan Tután,” streaming free on-demand, in collaboration with Perseverance Theatre. Each of the plays in Program B is successful in telling us enough about the characters to make the audience care for them and empathize for what they experience in their short time on stage. ... The Marathon is a great venue for up-and-coming writers to hone their characterization skills. Some of these writers have already had full productions of other plays in their resumés, so for some their success is in full swing. Program B is a definite tease towards coming back to experience Program A. [more]
Part of Ramón’s game plan to increase attendance is to create a Randy’s Dandy Coaster Castle mascot. In a move that changes his life, Arlo is drafted to don a hilarious, smelly rat costume transforming himself into the character Kuddly Kyle. Suddenly Arlo, the sweet, directionless shlub has found meaning in his life via this subterfuge. While in the costume, Arlo is the delightfully entertaining Kyle. Without the costume, he’s just Arlo. This is the most moving part of Coaster, a play that revolves around the emotions and inner lives of these everyday, working class characters, beautifully evoked by Perez and carefully chaperoned by director, Rebecca Martínez to keep it all down to earth and accessible. The fade-out is particularly moving as the workers have no idea that there is a disaster looming. Their lives will be changed—for the worse. [more]
Originally broadcast on "Soul!," an early PBS program dedicated to showcasing Black arts and politics, Baldwin and Giovanni's one-on-one echoes contemporary concerns while also remaining decidedly of its era. Unearthed by a theater collective and other trapped-at-home artists during the pandemic for an online recreation, it has now been transformed again, this time into a staged adaptation titled "Lessons in Survival: 1971." In truth, "googled" is likely the more appropriate verb for how someone found the Baldwin-and-Giovanni conservation, since it is entirely available on YouTube, where, to be honest, it is best experienced, not least because in that digital form it can be rewound for another listen, which a few of Baldwin and Giovanni's complex, unannotated arguments definitely require. [more]
Greenspan, a six-time Obie Award winner, whirls at breakneck speed through this three-act play in just over an hour, transforming from one character to the next with expert fluidity. He transitions between the highly dramatic and entitled Grace, the histrionic and prideful Mrs. Harrington, the simple but lovable Mr. Harrington, the gentle and sweet Patricia, and the gangly, dopey gentleman callers Tom Anderson and Billy Caldwell, drawing on every gender-bending limb, muscle, hand, voice, look or facial gesture he can muster. Even the brusque Tip Busty and party girl Sadie Buchanan get their own unique treatment. [more]
The musical gets a great deal of mileage out of its humor particular in its parody of recognizable tropes. "Penelope, Or How The Odyssey Was Really Written" is an entertaining musical comedy which turns into a feminist statement in the final scenes between husband and wife at the end of the show which gives this ancient Greek tale a modern sensibility. From the way the audience greeted the new musical comedy "Penelope" at the preview performance under review, The York Theatre Company may have a big hit on their hands. [more]
While Gabriel Jason Dean’s "Heartland" is an enlightening play about Afghan culture mentioning the classic poet Rumi and the contemporary novelist Atiq Rahimi, some of it will still be opaque to American audiences. On the other hand, it also reveals how American involvement in other countries may have the opposite effect of that which is intended. The fine production, however, makes this a compelling though subtle story of an extended family in its understated way. The play was first produced as part of the National Play Network Rolling World Premiere with four simultaneous productions including the one at The Geva Theatre Center in Rochester, New York. [more]
Director Ciarán O'Reilly confidently lets the clever cast explore their characters' profound complexities, which means forcing the audience to simply accept a few psychological contradictions. At its best, watching the play feels like eavesdropping on a real family whose lives are unfolding before us naturally. Dramatically, it's a little messy but also much more human. Where the play falters somewhat is at the very beginning, with a long, exposition-laden exchange between a gossipy bartender (James Russell) and Con's old war buddy (Andy Murray) that is less a scene than an information-delivery system. Fortunately, the put-upon Russell and Murray enjoy later opportunities to put their estimable skills to better use. [more]
A woman’s arm falls off soon into playwright Charly Evon Simpson’s engrossing allegory, "sandblasted." Ms. Simpson’s tone beautifully mixes the comic with the wistful, her dialogue is glorious, and her characters are appealing. Structured as 18 punchy short time-shifting scenes, with duologues, trialogues and monologues, the play builds to a stirring conclusion. Simpson quotes Audre Lorde, Toni Morrison and Samuel Beckett in stage notes, their aesthetic influence is evident. The setting is a sandy landscape, the time is “now. after. future.” [more]
A plea for understanding the pain of being Muslin-American, Sevan’s First Down at the 59E59 Theaters focuses on the plight of an adored football player who decides to kneel and pray during the national anthem rather than stand at polite attention, hand over heart. Quarterback George Berri (a handsome, well-built, sensitive Peter Romano) is a mid-westerner with pale skin and a name that doesn’t necessarily connote his Muslim upbringing. After the Star-Spangled Banner is played, Berri, a young Lebanese/American, is first seen. He is on his knees praying in the locker room well after the game is over. Soon Coach Bill Fitzgerald (Larry Bull, finding every nuance in what could have been a clichéd macho role) enters and the structure of First Down begins to manifest itself: three conversations of increasing emotional power beginning with Coach Bill, then Berri’s agent and finally his impassioned mother. [more]
It's just that, as the fictional Eva supplants the non-fictional Ann onstage, the play reverses course and sacrifices its human scale back to the rhetorical, with pro-life Eva and pro-choice Michael's gentle discord eventually turning toward the upcoming 2018 Irish referendum to repeal the Eighth Amendment. Actually, the far more spirited debate is being held in Eva's own head as her religious upbringing wrestles with a sense of culpability for a recent tragedy that has cast doubt on her previously rock-solid convictions. Unfortunately, the much too-on-the-nose parallels between Ann's fate and what is tormenting Eva's conscience amount to a bundle of contrivances that touch off a cascade of underwhelming revelations not nearly as thought-provoking as the play's beginning scenes involving Ann and Mikey. [more]
