New York City Center – Stage I

Vladimir

October 24, 2024

Essentially a cri de coeur, "Vladimir" desperately wants to answer affirmatively; however, Sheffer forthrightly acknowledges that it's a dangerously knotty road to yes, requiring Raisa (Raya in the diminutive form) to not only imperil herself but also possibly cause the deaths of others. In particular, passivity is the much safer choice for Yevgeny (David Rosenberg), a financial analyst who, despite having experienced virulent anti-Semitism while attempting to navigate the Russian educational system, helps Raya link that aforementioned suspicious tax refund to the upper echelons of Putin's corrupt administration. Like Raya, Yevgeny is not purely plucked from Sheffer's imagination, as he also possesses a non-fictional counterpart, Sergei Magnitsky, who, in a tragic similarity to Politkovskaya, savagely lost his life for having the courage to tell the truth about Putin's misdeeds. [more]

Poor Yella Rednecks

November 16, 2023

Although playwright Qui Nguyen declared early in his earlier play "Vietgone" that “all characters appearing in this work are fictitious,” in his sequel "Poor Yella Rednecks" now at Manhattan Theatre, co-commissioned with South Coast Repertory, the playwright played by Jon Norman Schneider begins by interviewing his 70-year-old mother Tong Nguyen about how his parents built a life in America as Vietnamese refugees. Directed by May Adrales who also directed the earlier play in the same exuberant fashion, the resulting flashbacks are raucous, raunchy and poignant. In what was originally announced as a quintet of plays, "Poor Yella Rednecks" is now described as the middle play of a trilogy. [more]

King James

May 31, 2023

Whether you are a basketball fan or not, Rajiv Joseph’s "King James" is an intriguing depiction of an unlikely friendship over 12 years. Under Kenny Leon’s polished direction, Glenn Davis and Chris Perfetti hold the stage with their complicated relationship and representation of male friendship. Although the play doesn’t tackle new ground, it remains absorbing as time passes and the men’s careers take different paths. [more]

The Best We Could (a family tragedy)

March 6, 2023

Hands down Emily Feldman’s "The Best We Could (a family tragedy)," at the Manhattan Theatre Club, wins the most ironic title of the year. Not one character does the best he or she could in this heart-twisting five-actor drama. The play details the long, slow descent of a family, cushioned only by an occasional jest and buoyed by the intensely moving acting by the ensemble with Frank Wood standing out in a superb demonstration of artistry. [more]

Where the Mountain Meets the Sea

November 19, 2022

A touching portrait of a father and his alienated son unfolds in the Manhattan Theatre Club’s "Where the Mountain Meets the Sea" by Jeff Augustin, directed by Joshua Kahan Brody. ... "When the Mountain Meets the Sea" is not only about two different people, but two different time periods. Jean exists in memory while Jonah’s journey is to cross the country, retrieve Jean’s ashes and spread them over Haiti. [more]

Golden Shield

May 23, 2022

Although playwright Anchuli Felicia King’s plays have been performed in London, Washington, D.C., Staunton (Virginia), Melbourne, and Sydney, her Susan Smith Blackburn Prize-nominated "Golden Shield" appears to be her first New York main stage production. Ostensibly about a young, idealistic lawyer’s attempt to bring her sister on board as a translator in a risky legal battle with a multinational tech corporation, the play is about half a dozen other things as well: sibling rivalry, child abuse, ethical turpitude, human rights issues, governmental suppression of the internet, legal loopholes, and corporate greed. The play actually conflates two different very real lawsuits (against internet giants Yahoo and Cisco) which may explain why it is initially so complicated. [more]

Prayer for the French Republic

February 8, 2022

Joshua Harmon’s latest play, the dense, untidy, brilliant and timely Prayer for the French Republic, is his most ambitious, epical play covering five generations of one French Jewish family with relatives in America as they negotiate the troubled landscape in a time when Marine Le Pen, president of the National Front, an anti-Semitic, xenophobic and Islamophobic organization, may win the election for president of France. Marcelle and Charles have to consider if France is still safe for their family which includes 28-year-old daughter Elodie and if not where they should go. If you think none of this has anything to do with you, Marine Le Pen is currently running for President of France once again and the Manhattan Theatre Club at New York City Center Stage I has a husky guard on watch throughout the performance in Manhattan – that is the world we live in. The play also contains the most dramatic scenes to be played on a New York stage in many years. David Cromer’s production is riveting in its intensity and as a play of ideas it is very accessible even to those who have not been following recent current events. [more]

Morning Sun

November 12, 2021

In a departure for him, the three actresses play all of the characters, both female and male, and are listed in the program simply as 1, 2 and 3. While the play feels undramatic and has no high points it does put the entire 67 years of the life of its heroine Charlotte (Charley) McBride played by Falco center stage. This low-key form seems to be the point for Stephens: life is a series of moments, like beads on a string, rather than big explosions or confrontations. With Brown playing her mother Claudette and Marin playing her daughter Tessa, both actresses also take turns narrating and playing other people in Charley’s life: her father Harold, her best friend Casey, her lover Brian, her husband Edward, her Uncle Stanley. Not only is the drama low-key, the characters play ordinary people, a saleswoman at Macy’s, a receptionist at St. Vincent, a janitor at the YMCA, the sort of people one had met or can identify with, unpretentious and unassuming: what most of the world is made up of. [more]

Bella Bella

October 31, 2019

Like a great many history plays, Harvey Fierstein's "Bella Bella" is as much about the present as the past, paralleling everything that's gone wrong now with what went wrong then. Unsurprisingly, it's also shamelessly biased, with the first word in the play's title apparently meant to be read in Italian as part of Fierstein's banally straightforward tribute to Bella Abzug, the feistiest of feisty 1970's New York City politicians, best known for her take-no-prisoners liberalism as a member of the U.S. House of Representatives. One's enjoyment of the play probably depends on how prone you are to clap or hiss along with the rest of the unambiguously sympathetic Manhattan Theatre Club audience, even if it's only in your own head. [more]

Long Lost

June 11, 2019

The play offers no catharsis as the actors are so low-key throughout, all much too calm even when the stakes are rising. As a result, there is little or no tension even when we realize the pattern that each scene will offer a worse revelation than the one before. Tergesen’s black sheep Billy gives us no clue as to the reason for his malignant behavior. Both AuCoin as his brother David and Parisse as David’s wife Molly are cool and sophisticated when they should be losing their temper. Wolff’s Brown University freshman is too inarticulate, but unfortunately he is straitjacketed by the dialogue he has been given. [more]

The Cake

March 17, 2019

Brunstetter overloads the issue in the play by making Jen have doubts about being in love with a woman against her parents’ religious teachings, even though she cannot imagine life without the caring, compassionate, uninhibited Macy. Additionally, when Della quotes the Bible to Macy, Macy retaliates by pointing out that as a childless woman Della has not fulfilled her religious duty as a wife. The plot then goes in another direction to show us Della and her husband Tim who has lost interest in sex since he discovered he had too low a sperm count. The play builds to Jen revealing her real childhood feelings to Macy, as well as Della demanding that after years of estrangement Tim make passionate love to her as he did at the beginning of their marriage. Ultimately, Brunstetter wants to have it both ways with an ending that does not resolve the religious question at all. [more]

India Pale Ale

November 8, 2018

Playwright Jaclyn Backhaus made an auspicious splash with her adventurous and inventive 2016 play Men on Boats about Major John Wesley Powell’s 1868 Colorado and Grand Canyon expedition which was played by all women as a satire of the machismo of this all-male trip. In her new play, India Pale Ale, Backhaus, who is part Punjabi, writes of something must closer to home: the Punjabi community in Raymond, Wisconsin. While the play’s authenticity is palpable in both its writing and acting, the play in its four acts seems to be pulling in four different directions. It is not so much that the play does not have much of a plot, but that is inconsistent in its theme and message. [more]

Dan Cody’s Yacht

June 18, 2018

Both Kevin and Cara are single parents, which is only the beginning of the many parallels and contrasts at the heart of "Dan Cody’s Yacht." Though it might come to seem overly formulaic, both the play and the production are good enough to rise above such a criticism. If Cara lives in the middle-income, fictional town of Patchett, and Kevin in the upscale, fictional town of Stillwell--“both towns in the far outer ring of suburbs around Boston,” as we’re told in a program note--she also teaches in Stillwell. [more]

In the Body of the World

February 20, 2018

"Body" dovetails Ensler’s personal agonizing battle with cancer and her involvement with a feminist group in the Democratic Republic of Congo where women have faced violence, rape and almost unending disruption of their lives. Ensler’s input was requested by Dr. Denis Mukwege, a Congolese gynecologist whose ministrations to the female victims of the sadism of soldiers and government officials paints a litany of one tragic event after another. [more]

Cost of Living

June 30, 2017

The play is enlightening for a physically abled audience as to the needs of the disabled both physically and emotionally. Both stories include a tender, poignant bathing scene as the caretakers learn how to adapt to their charges. However, there is more to Majok’s story. Both Jess and Eddie are dealing with their own problems. We discover that Jess is a first generation Princeton graduate down on her luck, all of her family having returned to her native country, never named. Eddie has been a long time alcoholic (which probably wrecked his marriage) and has lost his license and his job after a DUI charge. Ultimately, we discover that Jess and Eddie are coping less well than their charges and adversity is just around the corner. [more]

Linda

March 13, 2017

A revolving stage permits set designer Walt Spangler to depict, with dead-on realism and dispatch, not only Linda’s home--including an upstairs bedroom, which her daughters share--but also various offices at Swan Corporation, among numerous other sites. After a certain point, the dizzying, rotating stage becomes akin to a swirling merry-go-round, as director Lynne Meadow has it turning and turning, with different characters walking on and off, and through different doors, without any dialogue whatsoever, in subdued but effective lighting by Jason Lyons. It all becomes part of the accelerating gallop of the play itself, which ultimately spins out of control, as Linda learns that she’s lost her--well, let’s just say, in the end, everything. [more]

Vietgone

November 8, 2016

Not only does Nguyen have a unique sensibility and style, but the story is told entirely from the Vietnamese-American point of view, one not often seen on our stages. We hear the Americans as the Vietnamese do and as the Americans attempt to speak in Vietnamese. While the structure of the play is quite challenging going backwards and forwards in time from July 1975 in a Middle America relocation camp and breaking out in rap songs periodically, "Vietgone" is a very compelling portrait of displaced people trying to make a new life for themselves while wishing they were back home where they cannot go. [more]

Incognito

June 5, 2016

This is heady theater and demands concentration. However, the excellent cast of four made of Geneva Carr (Theatre World Award winner for "Hand to God"), Charlie Cox (Netflick’s" Daredevil"), Heather Lind (AMC’s "Turn: Washington’s Spies"), and Morgan Spector (Drama Desk Award nominee for "Russian Transport") make this an unforgettable evening in the theater. The versatile cast play 20 characters, some as many as six, without changing costume but with different accents and demeanors, while the succeeding scenes take place almost as fast as the synaptic functions in the brain. The play which alternates in its telling of the three stories is also divided into three parts: "Encoding," "Storing' and "Retrieving." Before each section the cast perform hand gestures create by Peter Pucci that mimic the synaptic actions in the brain. [more]

Prodigal Son

February 16, 2016

Television and film actor Timothée Chalamet (Showtime’s "Homeland" and Christopher Nolan’s "Interstellar") makes an impressive New York stage debut as the play’s young protagonist. The role is almost too small to contain his bigger-than-life portrayal: kinetic, animated, provoking, questioning, vital, dynamic. His moods turn on a dime and he can shift from being a sophisticated adult back to being a little boy in a moment. Tall and lanky, he suggests the author but as he must have looked back in 1965. Also making his Manhattan Theatre Club debut, David Potters as his roommate Austin is tremendously sympathetic as a young man afraid of breaking the rules who has led a very sheltered life up until now. [more]

Of Good Stock

July 18, 2015

Plays about three very different sisters go back to Shakespeare’s "King Lear." In modern times, the topic immediately recalls Chekhov’s "Three Sisters" and more recently Wendy Wasserstein’s "The Sisters Rosensweig" and Beth Henley’s Pulitzer Prize-winning, "Crimes of the Heart." Melissa Ross, whose excellent Nice Girl just completed its world premiere at the Labyrinth Theater Company, has entered the fray with "Of Good Stock" with a cast led by film star Alicia Silverstone returning to the New York stage. While the play is entertaining and believable under Lynne Meadow’s direction, it is also overly familiar without revealing any new depths. [more]

The World of Extreme Happiness

March 16, 2015

Frances Ya-Chu Cowhig’s eye-opening The World of Extreme Happiness reveals the urgent problems in contemporary China in which people from rural communities who move to the cities are second class citizens but where protest is quickly stifled, where the one-child policy causes girl children and women workers to be ignored, and the vast numbers of people in the factory cities have little access to education or money. Eric Ting’s powerful co-production for Manhattan Theatre Club and the Goodman Theatre of Chicago deserves to be seen for turning contemporary social science into the stuff of drama. [more]

Lost Lake

November 23, 2014

Auburn doesn't tell us enough about the back stories of these characters so that the portraits aren't fully drawn, and each scene is structured to reveal only one new item for each. However, Hawkes and Thoms fill in a great many of the gaps with their layered performances. [more]

When We Were Young and Unafraid

June 30, 2014

Yes, it's TV soap trap. Yes, it's really good movie. And yes, it's some of the best theater, because it's the purest entertainment, storytelling, the hardest and the easiest thing to do, all in one. People are endlessly fascinating. All you need is Sarah Treem to let you in. [more]