Hold on to Me Darling
Adam Driver in a scene from Kenneth Lonergan’s “Hold on to Me Darling” at the Lucille Lortel [more]
David Van Tieghem
How I Learned to Drive
A lure of this Broadway premiere revival is 25 years later experiencing the acclaimed performances of much of its original cast. Being a memory play, their current ages are irrelevant, especially when their talents are impeccable. With her renowned charismatic stage presence, Mary-Louise Parker is monumental as Lil’ Bit. Ms. Parker’s drawling vocal delivery and magnetism fully and poignantly realizes the character from the perspective of an older woman looking back on her dysfunctional adolescence. The soft-spoken and shattering David Morse soulfully embodies Uncle Peck, a delusional W.W. II veteran who has descended into alcoholism and pedophilia. [more]
runboyrun & In Old Age
Despite the fine writing and acting, these two plays do not stand alone: we are given no backstory to understand the context for these relationships in the longer saga; both plays dealing with a character’s depression, they are too similar in the theme of being haunted by the past; and thirdly, as they are basically two-character plays, both are too long for the limited story and plot lines they contain. Unlike the first two plays, these use two different directors (Loretta Greco for "runboyrun," and Awoye Timpo for "In Old Age"), ironically making them seem quite similar in style. [more]
On the Shore of the Wide World
Neil Pepe’s production of Simon Stephens’ "On the Shore of the Wide World" will not please all. The pace is consciously slow – like the life lived by these characters. However, the wait is worth the effort. By the end when the family reunites for Sunday dinner, the play has become both powerful and poignant. The title, incidentally, comes from the next to the last line of John Keats’ sonnet, “When I have fears that I may cease to be” in which the speaker worries about missing out on love, fulfillment, fame and success, apt summation of Simon Stephens' play. [more]
Pilobolus Dance Theater (NYU Skirball Center)
[esc], staged by Penn & Teller, Mr. Barnett, Ms. Jaworski and Mr. Kent, is a Penn & Teller homage to Harry Houdini. To a musical background of pop songs, the performers—Messrs. Fitzgerald Ahern, Banks-Sullivan, Coalter & Loman and Mlles Krystal Butler & Jordon Kriston—were variously locked in an “escape-proof” box (assembled by two audience volunteers), squeezed into a carry-on bag, handcuffed to a 13-foot pole and duct-taped to a chair. Their escapes, accompanied by Penn’s humorous narration were exciting, energetically performed, but, in the last analysis, a bit long-winded. [more]
Heisenberg
Simon Stephens, whose Tony Award winning "The Curious Incident of the Dog in the Night-Time" recently amazed audiences with its razor-sharp take on the inner workings of an autistic boy, is back with "Heisenberg," a two-hander that examines the relationship between a forty-something woman and a seventy-something man, written with the same consummate insight into the foibles of human beings, minus that play’s technical wizardry, here replaced by a sharp ear and eye for the nuances of neediness. [more]
The Gin Game
Now the frail-seeming, but elegant Cicely Tyson and imposing, stout-voiced James Earl Jones have taken on "The Gin Game" and make it totally their own, finding nuances in every line, filling in the silences with the kinds of reactions that make live theater an electric experience. [more]
Billy & Ray
Mike Bencivenga's Billy & Ray is the story of Wilder and Chandler's famously contentious collaboration. The lighthearted comedy drama includes an insider's view of Hollywood and a good many famous anecdotes about their fighting over the Double Indemnity screenplay. While it will probably be enjoyed most by those who know the movie and/or the original novel, the play does clue the audience in to what they need to know about the original material as well as its eventual screen treatment. [more]