Laura Winters’ "All of Me" is a lively rom-com of rich boy meets poor girl much on the lines of 1930’s film comedies. However, the new wrinkle here is that Lucy is disabled using a motorized scooter and a text-to-speech Augmentative and Alternative Communication device to speak, while Alfonso uses a motorized wheelchair and also uses an AAC device to speak as well. Both are independent people though Lucy needs a great deal of help while Alfonso’s wealth gives him staff to take care of his needs. They would seem a perfect fit for each other except that their mothers don’t think so. Ashley Brooke Monroe’s production is spirited and animated. What she cannot overcome in the smart and nimble dialogue is the delay in the response time using AAC devices so that there is an unavoidable pause between the responses in the repartee. Another problem is that though the main characters are played engagingly by Madison Ferris and Danny J. Gomez, the rest of Lucy’s dysfunctional family seems clichéd and familiar. [more]
While "The Seven Year Disappear" may challenge and confuse many theatergoers, people used to performance art may get the in-jokes. Jordan Seavey whose play "Homos, or Everyone in America" was seen in 2016 in the Labyrinth Theater Company at the Bank Street Theater is a sophisticated, seasoned playwright and he and director Scott Elliott make no concessions to their audience. "The Seven Year Disappear" may be most appreciated by devotees of experimental theater but it does make one hungry for Seavey’s next play. [more]
Philip Roth’s 1995 Rabelaisian novel "Sabbath’s Theater" would seem a strange choice for stage adaptation both as it is considered Roth’s raunchiest – if not filthiest – book and it moves around a great deal to places in New England, New York, New Jersey and Venice, Italy. The stage adaptation by journalist Ariel Levy and actor-director John Turturro who also stars in The New Group’s production at the Pershing Square Signature Center is not really a play but a staged reading. Performed by Turturro and two actors, Elizabeth Marvel and Jason Kravits, taking all the other parts, this very doubling reinforces the feeling that this is not a fully realized play. [more]
"Baby Foot," written and directed by Tim Venable, follows the interactions between three addicts in the very early morning in the lounge room of a rehab facility. The two central characters are Alexis, who is leaving the program facility, and Blackie, who is on his first day. There is a third, pivotable character, Fred, the janitor, a recovering addict who has worked at the rehab facility for thirty years. "Baby Foot" effectively deals with psychologically and emotionally heavy topics in a thought-provoking way without being overly dark. It has moments of humor within the serious drama but ultimately provides a sense of hope and fulfillment. It is a show worth experiencing for skillful performances and a view of the world of a recovering addict. [more]
Branden Jacobs-Jenkins’ "The Comeuppance," the culmination of his decade as a Premiere Resident playwright at Signature Theatre, does for the millennials what "The Big Chill" did for the Baby Boomers. Astutely directed by Eric Ting, this fascinating but uneven play also reviews the stresses and traumas of the last 20 years for that generation. This five-character reunion of people who knew each other at St. Anthony, class of 2002, in Prince George’s County, Maryland, is densely plotted and packed with dramatic moments. And then there is a new wrinkle, an uninvited guest. [more]
The six-member cast creates a believable ensemble though their roles are not all clearly defined. While the play reveals much about the Haitian community living in Brooklyn, as 'Bernarda’s Daughters" feels almost plotless it seems to drift from one conversation to another with little or no structure. The idea of an updated Americanized version of Lorca’s very Spanish tragedy "The House of Bernarda Alba" is a good one. However, this is not as compelling or successful as Marcus Gardley’s "The House That Will Not Stand" which reset the play in 1813 New Orleans. [more]
Aside from the problem of which translation from the Russian to use, the thorny problem with American productions of the plays of playwright Anton Chekhov is how to deal with the fact the author himself called them comedies but everyone from his early director Konstantin Stanislavski on has seen them as tragedies. Playwright Thomas Bradshaw has neatly solved both problems: in his new adaptation renamed "The Seagull/Woodstock, NY" which recasts the play as an updated modern comedy, he also made the play a very funny satire of today’s culture vultures, thespians and the literati. His version in which all of the names have been Anglicized makes Chekhov’s turn-of-the-last century play very accessible to contemporary audiences which is not often the case with Chekhov adaptations - without making drastic changes. In doing so, it makes whatever parody there was in the original of theater and literary icons of Chekhov’s time now understandable to today’s audiences due to updated references they can recognize. [more]
"Small Talk," like its title suggests, is less unified than Quinn’s earlier shows. He also uses its format to wander from topic to topic, seemingly randomly without much structure. It allows him to focus on his pet peeves which seem to be the real topic of the show. While some of his earlier shows were big on humor, this one is more interested in provoking thoughts than laughs. [more]
Will Arbery’s Evanston "Salt Costs Climbing" (set in the city in which the author received his Master of Fine Arts Degree in 2015) is a perplexing experience as it shifts from realism to absurdism to surrealism. Its worthy topics of ecology and climate change notwithstanding, the play’s repetitiousness and unprepared-for events are frustrating as well as the missing backstories. While it begins interestingly enough , it very quickly turns tedious and inexplicable. A noble experiment, "Evanston Salt Costs Climbing" is either for the select few or needs a rewrite or second draft. [more]
Dominique Morisseau’s "Confederates," her second play of her Signature Theatre Residency 5, is a clever, but overly talky dissertation on race, power and family. She offers the audience parallel stories alternating between the Civil War era and modern day academia. The contemporary plot involves Sandra (Michelle Wilson, solid), a Black political science professor who is the victim of a racist insult. A period photograph of a slave wet nurse, white infant attached to her breast, was altered to superimpose her head on the slave’s. Finding the culprit spurs Sandra to think about the precariousness of being a Black woman in academia. [more]
Despite the familiar visual trappings--mic stand, performer-blinding stage lights, and a dull curtain backdrop--Edelman's deceptively free-flowing talents hew more towards the monologist Spalding Gray than those of Williams. Like Gray, Edelman is an entrancing storyteller capable of stitching together personal anecdotes into a rich thematic tapestry. In Just for Us his canvas includes mental pictures of growing up Orthodox Jewish in a Boston where white privilege is starkly stratified; his brother's 2018 Winter Olympics participation as a member of the Israeli team in possibly the least athletic competition; witnessing the actions of a predictably conceited Jared Kushner at synagogue; and the touching time his family celebrated Christmas in order to console a bereaved non-Jewish friend. [more]
"Black No More," the new musical inspired by George S. Schuyler’s 1931 Afrofuturist novel, is the most exciting and inventive new show to be seen so far this season in New York though it is still in need of work. With a book by Academy Award-winning screenwriter John Ridley (12 Years a Slave), the stage version drops Schuyler’s scathing satire of Harlem Renaissance and Depression figures as well as its political election hijinks for a more direct story about race and racism in the United States. As brilliantly staged by Scott Elliott for The New Group, Black No More is also a play of ideas and will keep you thinking and debating long after the final curtain in this story of the sacrifices people have to make to change the world. [more]
“Spicy. Cajun. Alfredo. With Bourbon Infused. Crumbled. Bacon” is the hoped-for path to victory for the pivotal Memphis cooking competition in award-winning playwright Katori Hall’s uplifting "The Hot Wing King," where comedy and drama deftly converge. Strained relationships, personal despair and camaraderie among gay and straight black men are all dramatized in this rewarding contemporary work that has echoes of the wit and pathos of Mart Crowley’s "The Boys in the Band." [more]
Bookwriter Jonathan Marc Sherman has wisely kept the story in its period. However, his dialogue is almost word for word lifted from the screenplay which is rather old hat for those of us have heard it in the movie. The score with music by Sheik and lyrics by Sheik and Amanda Green makes all the songs sound the same in Sheik’s orchestration played by a combo of four. The lyrics are both pedestrian and trite, telling us only what we already know. The songs which are not listed in the program include a great many reprises. Many of the tableaux and setups recreate exact visual moments from the film. [more]
Though off-putting, "Sunday"’s periodic non sequitur choreographic interludes become a respite from its bad writing and grating performances. For no discernable reason, characters stop speaking and engage in herky-jerky movements accompanied by crashing music and frenetic lighting. “A sort of frenzied dance. Think "They Shoot Horses Don’t They?" But perhaps slightly less macabre,” is the stage direction's description. The action then resumes. These tangents fill things out as the show is scant on plot. [more]
Abrasive as a subpar episode of Maude and reaching a sour psychological thriller-style finale out of Craig’s Wife, Happy Talk is playwright Jesse Eisenberg’s muddled family drama. It’s the 1990’s and the New Jersey Jewish matron Lorraine is playing Blood Mary in a community theater production of South Pacific and so in addition to the jokey title we get a barrage of painfully cute musical comedy references. Scene transitions are accompanied by blaring snippets of Mitzi Gaynor who played Nellie Forbush in the film version. The combination of Mr. Eisenberg’s smug sensibility, inane contrivances, shtick-ridden dialogue, condescended-to characters, and slack construction all make it a tiresome one hour and 45 minutes. [more]
In between scenes, the play’s lighting (by Paul Miller) and sound (by M.L. Dogg) conspire to create a hallucinogenic, disorienting slideshow of animals and rotting metropolises — a reminder of the massively dysfunctional world in which the characters of "Actually, We’re F**ked" are potentially raising children. Mind you, the question of whether or not to raise a child in 2019, along with lengthy discussions about genitalia, is essential to this play. And the answer to that question, according to "Actually, We’re F**ked," is much more lovely and hopeful than you might expect. So go see this show if you want a road map for emotionally processing the very f**ked America we live in right now — or very detailed and accurate instructions on how to break into a company server. That is something that appears in this play as well to quite amusing effect. [more]
These two mild points aside, Jaffee’s script is nevertheless hugely successful in conveying this man-vs-nature clash; his use of clever dialogue and idiosyncratic characters keep the topic in the forefront with much humor and without any preachy heavy-handedness. [more]
A hard-edged picaresque fable is what playwright Lynn Nottage came up with in her enjoyable, "Fabulation, or The Re-Education of Undine" that premiered in 2004. A two-time Pulitzer-Prize winner for Drama, Ms. Nottage is in a lighter mood here but her comic sequences have a bracing tone and the dialogue has her customary skillful depth. We’re in the exaggerated territory of "Watermelon Man" and "Bonfire of the Vanities." [more]
However, the play’s humor is very mild. The jokes are on the level of “My steeple is drooping! I swear this never happened to me before,” from Pastor Peters, and “George Washington dined on that very land,” “Well, it was a picnic lunch.” Among the gags are that the cord for the mike in the Town Hall has been eaten through as they “can’t afford squirrel traps.” The play is farce but it is not played fast enough to keep all its bubbles in the air. Tim Mackabee’s set is very redolent of small town halls, but does not suggest the other locales. Jeff Croiter’s lighting attempts to add to the atmosphere as the play moves all over town. Heller and Souhrada remain in Joseph La Corte’s single costumes all evening, ones that are suitable for a major and a janitor. [more]
If these characters sound familiar, they are based on real people who populated Albany politics four decades ago. "The True," a world premiere play by Sharr White ("The Other Place," "The Snow Goose") gives four-time Emmy and two-time Golden Globe Award winner Edie Falco another bigger-than-life role and she is magnificent. The cast also includes television stars Michael McKean (Mayor Corning) and Peter Scolari (Peter Noonan) as well as Glenn Fitzgerald (Howard C. Nolan) and John Pankow (Charlie Ryan) who under the direction of The New Group’s artistic director Scott Elliott create a true ensemble, making us feel that these people have lived their roles. [more]
“This is the world of Magritte,” and indeed it is. The play opens with a young woman silently appearing and wearing a flowing white gown, a derby with a flower and a pipe. This takes place on scenic designer Edward Pierce’s gorgeous oval-shaped surrealist-themed set with sky blue walls, clouds, green grass and a large painted tree. There’s also a door, shutters and off to the sides are a piano and a microphone. All of these elements cleverly assist in fulfilling the stage direction of “We are indoors and out at the same time.” For a barbecue, a grill is wheeled out with a sign in French that says, “This is a barbeque.” [more]
The current staging of "Our Lady" at The Pershing Square Signature Center, directed by Phylicia Rashad, magically now comes across as an addled, profane sitcom. It’s entertaining and at times moving, but the real magic is that the very same words can be tended by a solid director—this one obviously experienced in sitcoms—and refresh a theatrical experience so completely. Rashad has shown that scathing can be scathingly funny. This time I left laughing. [more]
We learn a great deal about hospice, possibly more than one might want to know in a play. While most death watch plays like Edward Albee’s "All Over" and Scott McPherson's "Marvin’s Room," take place in another room from where the elderly person is dying, Mary Frances alternates between the downstairs living room/dining room and the upstairs bedroom of her split-level house. Unfortunately, this 21-scened play with at least a dozen more scenes which switch between Mary Frances’ bedroom and the living room where the rest of the family eat or watch television requires endless jump cuts like a film and endless lighting cues from designer Tyler Micoleau. [more]
"Jerry Springer - The Opera" is not for opera purists nor is for people who are easily offended by four letter words and other bad language of which there is a multitude. However, its irreverence skewers social, religious and political hypocrisy. The New Group’s production directed by John Rando is one of the most exciting musical theater experiences to be currently obtained in New York. It actually seems more relevant in Trump America where this sort of thing is cable-fodder every night of the week. If you are a dedicated theatergoer, miss this show if you dare. [more]
Anton Chekhov once advised that if you show an audience a gun you are required to have it go off. Set on September 8, 1976, Seth Zvi Rosenfeld’s new play, "Downtown Race Riot," being given it world premiere by The New Group, never takes us to this forgotten event which happened in Washington Square Park but depicts the forces and people involved in the 100 minutes before the riot is to happen. This overheated melodrama which goes on a bit long takes on many important themes (racial hatred, drug addiction, petty crime, sexual identity, financial insecurity, etc.) without making any pertinent point about any of them. While the dialogue and the milieu are gritty, Downtown Race Riot recycles a great many stereotypes and clichés. [more]
Say this for actor Hamish Linklater: he writes juicy parts for his fellow actors. He also knows how to set up a sense of community. The New Group production directed by its artistic director Scott Elliott has a fine cast led by two-time Tony Award winner Norbert Leo Butz and Zosia Mamet, just off six seasons of the recently ended HBO television series, Girls. [more]
Playwright Erica Schmidt has a minor aptitude for believably snappy dialogue, but not much else. Her tired scenario is astonishingly familiar and offers no fresh insights. That adolescence is tough is about all there is. That territory has been mined in John Hughes’ films and numerous television shows. There was also the 1985 movie "Smooth Talk," starring Laura Dern and Treat Williams that was based on a Joyce Carol Oates short story. [more]
The original was aimed at an audience that most certainly was illiterate, so that the clever creators used cartoonish, unsubtle characters who spoke in popular jargon, even spouting profanity, which must have tickled the medieval audiences’ sensibilities and kept them following the actors in their juicy parts. Jacobs-Jenkins follows suit, but with his tongue firmly in his cheek, writing his characters, particularly Stuff (played with a no-nonsense, “from the block” insouciance by Lakisha Michelle May), as immediately recognizable twenty-first century caricatures. When cutie pie child Lilyana Tiare Cornell, playing the character Time, spouts the word “shitty,” the audience at the Diamond Stage giggles nervously. [more]
However, as the title implies it is also a very verbose, long-winded affair giving an excellent cast made up of such veterans as Matthew Broderick, John Epperson (a.ka.a Lypsinka), Jill Eikenberry, Larry Pine, Claudia Shear and Michael Tucker not much to do. Shawn has written the best role for himself but that is not saying much. While the play may be meant as a cautionary tale, it is also over-written and self-indulgent. Long before you realize where the play is going you may have lost interest due to all the explanations. [more]
The real reason to see the new "Sweet Charity," its third major New York revival, is for Sutton Foster’s bravura performance. Aside from nightclub singer Reno Sweeney in Anything Goes, Foster has usually played innocent, clean-cut young women caught up in unusual situations. Here she again plays to type – but with a difference: Charity Hope Valentine works as a taxi dancer in a New York dance hall, a sleazy environment. However, she keeps her infectious innocence and her indomitable spirit despite one unfortunate romantic encounter after the other due to her gullibility. Under Leigh Silverman’s direction, Foster may just be the most convincing actress to ever play Charity. [more]
Watching these three actors is an incredible experience. As Willie, the slower, funnier tea room worker, Sahr Ngaujah, often the butt of the jokes, never loses his humanity. Noah Robbins finds all the complexity in the adolescent Harold, and Leon Addison Brown makes dignity palpable and believable as Sam. [more]
