Russ Rowland photographs everything from theater and corporate events to portraits, abstracts, street scenes, landscapes and images that he creates on the computer in various ways. Many things interest him visually, and he’s a relentless experimenter. http://www.rrsnapshop.com
Director Shira Milikowsky keeps increasing the tension as the 85-minute play peels away revelation after revelation. Each man has a guilty secret and may have betrayed a friend which is eating him up. Although there are never more than two men on Lawrence Moten III’s pitch perfect set for the rather shabby blue and white hotel room which suggests a dorm, we eventually witness and learn about two other stories that they are both stewing over: what happened between Teddy and Ed before Ed stormed out and Jeremy’s encounter in Uganda with Nicholas, a gay man in need of more than medical help. [more]
Director SuzAnne Barabas takes a muted approach, choosing to emphasize the intimacy of the narrative. Mags and Bernie are the only two characters in the play, and both are on stage nearly the entire time. There is little in the way of action, as the 80-minute runtime consists almost entirely of Mags and Bernie reading the letters they send to each other. Day and McKeon spend long periods sitting down and reading their letters out loud, and set designer Jessica Parks arranges the stage as two living rooms, separated by an invisible barrier that neither can cross. Maintaining the physical distance between the characters, the set and directing evoke the feeling of being in both living rooms at once, listening to Bernie and Mags casually read their letters out loud before mailing them. [more]
The trio demonstrates that their voices are as supple and fine as they ever were. Each gets to play their best suit: Winokur’s loud, clarion voice, Bundy’s wry wit and Butler’s recounting her hilarious but painfully missed opportunities even though she has appeared in 12 Broadway shows and been nominated for the Tony Award. Their patter and narration is entertaining and hilarious and the musical numbers are both tributes to their careers as well as songs we have not heard them sing before. [more]
We’ve come a long way from "Annie Get Your Gun" to the new musical "Distant Thunder" produced by Amas Musical Theatre at the A.R.T./New York Theatres. The Irvin Berlin song “I’m an Indian, Too” from "Annie" is filled with silly clichés about our indigenous people that "Distant Thunder" puts to rest. "Distant Thunder," written by Lynne Taylor-Corbett and Shaun Taylor-Corbett (book) and Shaun Taylor-Corbett and Chris Wiseman (music and lyrics), (with additional music and lyrics by Robert Lindsey-Nassif and Michael Moricz,) deals sensitively with issues facing Native Americans today. All of the actors are members or descendants of Native Americans and all give body and soul to their characters. [more]
"It’s Not What It Looks Like," is a two-hander, written by John Collins in collaboration with Chesney Mitchell. It is the winner of the 2023 Soho Playhouse Lighthouse Series competition for new plays. The play is a cleverly devised procedural drama that does justice to its title: somebody died, but the how and why are unknown. It is a mystery with which to spend a summer evening. [more]
"David" now at the AMT Theater is an ambitious Off Broadway musical dramatizing the story of the youth of the hero David, later second king of Israel. It has a bouncy contemporary score by Albert Tapper and a large talented cast. Somewhat indebted to Andrew Lloyd Webber’s Biblical musicals, it is narrated by the older King David on his deathbed to the Prophet Nathan. Most of David’s adventurous exploits take place off stage, while the dramatized scenes are mainly political and dramatic. [more]
When it comes to coffee klatches, wine seems to be a good substitute, or at least that is the case with the women in "Winesday: The Wind Tasting Musical," with book and lyrics by Jenne Wason and music by Joseph Benoit. It is a show that could leave you tipsy at the end but generally satisfied with the experience. The songs are clever and well-sung by a solid group of five actors, and the book doesn't rely on a straightforward plot but provides a series of entertaining vignettes that help define the characters' lives with details about their ups and downs. Jamibeth Margolis's direction effectively guides the cast to deliver funny, well-integrated performances in a constrained setting. [more]
Dan Lauria’s "Just Another Day" is quite leisurely in its delivery but Lauria and McCormack inhabit their roles. While the play could use some pruning, it is a charming portrait of two elderly people drifting into an age when they cannot count on their memories but know that there is something important they wish to recall. Their hidden backstories and their changing recollections at times make this play like a mystery as well as a comedy. "Just Another Day" is a tribute to those people old enough to know that their pasts are slipping away unless they can pin them down. [more]
Enter young baritone Edwin Joseph. He has that dark curly hair and handsome face, yes, and the crucial understanding of the necessary swagger and selfishness that carries this character through the opera, yes. Mr. Joseph brings to mind the earthy and always sexy television star Shemar Moore, someone who has the confidence without even trying; it’s just there, and in spades. Joseph is helped with Mr. Wills’ ingenious staging. Tatyana’s letter scene is performed with Onegin perched on the top stairs of a stage ladder in full view just stage left of her bedroom space. The implication that he is well aware he is desired by Tatyana is there long before he reads the letter. He doesn’t need to read her outpouring of her soul to know he has that effect on her. In the birthday party scene, it’s not the flaunting of Onegin’s flirtations with Olga that sets the tone for Lensky’s challenge to a duel, it is a brazen handjob administered by Onegin to an already emasculated Lensky off in a corner where Lensky hopes no one sees that is the trigger for everything that follows. And throughout, particularly in his closing aria in Gremin’s palace, Joseph with his rich resonant baritone has this score in the palm of his hand. [more]
Christopher Rhoton's Double Dare-inspired set belies these weightier autobiographical details, offering enough of a time-warping simulacrum to help middle-aged members of the audience shed a few decades when Summers interrupts his fraught remembering to twice become a kid's game show host again. Those who legibly scribble their names on a piece of paper dropped into a fishbowl before the performance, eventually get the chance to head onstage (not sure if mezzanine ticket buyers are eligible), answer trivia questions, and launch pies on a catapult (a warning for the first few rows). Amid all the cheers, laughter, and chaotic fun, there's also an opportunity for the quick-witted Summers to go off-script, asking the theatergoers-turned-contestants trite questions like "Where are you from?" and "What do you do?" to set up a slightly mischievous back-and-forth. [more]
While we are presented with characters who are doing a noble thing and can be touched by what they go through to accomplish their task, Brian Belding’s book and lyrics repeatedly take us out of 1942. In breaking up a fight between her brother and her old flame, Sophie blurts, “Are we seriously doing this?!”…Seriously? The tone is not “then” in 1942, it’s a university student of present day. When Willi walks in on the scene, he asks “What the f*@k is going on?!” We don’t doubt the impulse behind it, but was that really the vernacular in 1942? Natalie Brice’s score has its moments with some of the solos, but the full company songs sound like retreads of "Les Miserables" chorus numbers. “Munich” sounds like “Blind Eye” sounds like “Why Are You Here?” sounds like “The Mess They Made” sounds like “We Will Not Be Silent.” All are full throttle songs with the same sentiment, so why are there so many? [more]
Through a technologically astute production and fine acting, their intertwining stories unfold in a dramatic tapestry that reveals the sad business of mail-order brides. Using an intricate combination of pre-recorded videos, live video feeds and “ghost voices” (Joy Tamayo), the live actors emerge as engaging and moving women, their fates becoming ever more fascinating and heartbreaking. [more]
How does a Holocaust-themed play land with such emotional impact as Leslie Epstein’s "King of the Jews" at the HERE Theatre? Based on his novel of the same name, "King of the Jews" is a searing, eye-opening glimpse of a dark period in world history. Set in the formerly elegant Astoria Café in 1939 and 1941 Poland, "King of the Jews" turns the employees and customers into a microcosm of Jewish society, a community being crushed under the boots of the invading Nazis. These trapped Jews emerge as real people. As the eleven p.m. curfew, enforced by Gestapo goons, approaches, they each react in their own way. [more]
Olson might very well be the three-way love child of Thomas Dolby, Bill Irwin, and Max Headroom. He carries the show with an unbridled, infectious, childlike enthusiasm, sharing what he knows and loves--science and music--using songs he wrote in his car and lyrics that support his storytelling. He puts on this show like a life-long project that he couldn’t wait to find the barn for. Olson reels us all in as he fills our minds with profundities in the same ease and flair he might have if he were telling us an evening of dad jokes. He shares postulates about time, space, color, light, thought, consciousness, love, and existence, in easy-to-grasp terms using purposeful words and with exquisite imagery. [more]
The Nazis persecuted not only Jews, political opponents and its own, but also homosexuals. Jews were forced to wear the infamous yellow stars; gays, the pink triangle. Alan Palmer, in his one-man show "Chanteuse" at HERE Arts Center, gives an intimate, heartbreaking look at one victim—fictional or not—that turns impersonal facts into passionate theater. [more]
"The Gospel According to Heather," with book, music, and lyrics by Paul Gordon, is a story about a teenager's struggles with fitting in with her contemporaries, finding a boyfriend, and dealing with the supernatural powers which she seems to have acquired after finding a Roman coin in a fish. On the surface, this show appears to be a coming-of-age tale with music, but it is much more: it is a cleverly done and, at times, pointed commentary on the socio-political nature of contemporary America, and of religion. [more]
Heartbeat Opera seems to have found the way to separate themselves from the rest of the pack of alternative opera companies here in New York. Their way is to inject the standard repertory of grand opera with fresh ways of presenting the rich beloved scores. Enter music director Daniel Schlosberg, a Brooklyn-based composer-pianist who is their ingenious arranger for both Puccini's "Tosca" and Verdi's renamed "Lady M," and conductor and pianist for "Lady M." He arranges "Tosca" for a band of eight, "Lady M" for a band of six. Consider both of these Herculean feats with sumptuous results. [more]
Just when you think you’ve seen an opera so many times you can’t imagine it being told anew along comes Heartbeat Opera with a riveting take on Puccini’s "Tosca." Director Shadi G. sets it as a thriller in Teheran, Iran with a cast of singers trying to get through a performance in defiance of the censors. The opera "Tosca" has always been set under a dictatorship of an authoritarian regime. It is usually set 1800 with the Kingdom of Naples’s control of Rome threatened by Napoleon’s invasion of Italy. The Heartbeat production underlines the usual terror with Irani police officers in shadows, hidden in stairwells and behind stage entrances ready to arrest the performers if they do anything outside the strict code of ethics and behavior in the Irani culture. This added layer to the story provides a lot of exciting running exits into the audience to avoid capture by the authorities. [more]
"War Dreamer" is a compelling exploration into the psychology of a female veteran who served in Iraq. It is a depiction of the struggles of a veteran to make sense of the memories, nightmares, paranormal events, and mental dislocations that intrude daily. Those experiences are more than a function of post-traumatic stress disorder. They result from a life lived in the alien world of war and all that is that experience. The play is a frighteningly accurate presentation of the process that some veterans must navigate as they try to return to a "normal" life. Written by Leegrid Stevens, "War Dreamer" has a storyline that is not straightforward in time and place. It is disconnected from a regular flow of action, with jumps in time, place and reality. However, he skillfully keeps the audience guessing what is real and what is not without losing the story's underlying thread. Stevens makes the audience both witness and participant as he brilliantly weaves his story of trauma and disassociation. [more]
The ensemble in this show does an outstanding job. Christina Bennett Lind as Annie gives us a direct and well executed view of a frightened, emotionally conflicted woman amid a psychological breakdown. Wilson convincingly plays Izzy, showing us a character who appears balanced and somewhat detached from the emotional conflict but still leaves room for questions about what may be behind that stable, rational façade. Eckert, as the Warden, plays a crucial part as the bridge to the understanding of the show's central theme and later provides a path to the ending. Finally, Ingulsrud is both Paul and Eddie, presenting characters who, although growing up together, developed radically different reactions to the dysfunction that was and is their family. His embodiment of the disturbed mental state of Paul is exceptional, as is his detached, somewhat arrogant depiction of Eddie. [more]
Rapp’s show—directed by Steve Maler, with musical direction/orchestrations by Daniel A. Weiss (who was the associate conductor/second keyboards player of the original Broadway production of Rent)—is quite moving. I was held by it throughout. And it is extraordinarily rich with Jonathan Larson songs, including “No Day but Today,” “We’re Dying in America,” “Rent,” “La Vie Boheme,” “One Song Glory,” “Seasons of Love,” “Without You.” Hearing these familiar songs—which I’ve heard so many times in Rent, performed by multiple singers—in new contexts, now sung solo—gives me an even greater admiration for them. They are such well-crafted songs, and they have enormous impact here, just as they did in their original contexts. Rapp has an especial affinity for Larson’s work; no one performs Larson’s songs more compellingly. He has long been the foremost interpreter of Larson’s music. He “gets” the music completely. It resonates for him. No one interprets Larson’s work better. [more]
And that's the agonizing tension in "Without You;" in his lyrical responses to Larson, Rapp is well aware that it's not a back-and-forth, that Larson can't say anything more than he has already. But, just as with "Rent," there is still solace, because I'm sure Rapp, the show's impressive five-member band cozily tucked into Southern's set, and the production crew could hear what I did in the audience: lots of crying. It came with a palpable feeling of not being alone in your thoughts for the dearly departed, especially those taken much too soon. A generation or two removed from having attended "Rent," it was an unspoken bond not only worth revisiting but, if I'm being honest with myself, desperately needed. [more]
Not only is Livian Yeh’s "Memorial" revealing in its historic depiction of a recent piece of American history, it is additionally a very satisfying dramatic work. It is also very pertinent now with its depiction of racism against Asians shown to have been just as prevalent 40 years ago, as well as how deeply ingrained our unexpressed prejudices go. Jeff Liu’s direction mines all of the play’s nuances, twists and turns. The superb design adds greatly to bringing the play to life, suggesting more than is actually on the stage. With this world premiere, the Pan Asian Repertory Theatre has a current winner as well as a play that should travel well to other theaters around the country. [more]
Ellen Abrams’ new play "Eleanor and Alice – Conversations Between Two Remarkable Roosevelts" explores their superficial courtesies in a series of conversations spanning 1904 until 1962, agreeable conversations that reveal an often disagreeable, if not downright adversarial relationship. Scenic designer Frank J. Oliva has divided the stage at Urban Stages into two discrete areas, one representing the Roosevelt estate, Sagamore Hill in Oyster Bay, Long Island, and the other Eleanor Roosevelt’s charmingly simple home, Val-Kill, in Hyde Park, New York. Kyle Artone’s costumes are simple representations of the two women as they travel their different paths through history. [more]
Most poignantly, when Drew starts to wonder if maybe their son's survival has been the opposite of a blessing, Andrea expresses horror for a thought that, thanks to Pimentel's touchingly subtle performance, we know she's had herself. To its strongest credit, MacDermott's play affords all three of its actors the opportunity to find meaning beyond their characters' words. Though, of course, with a less capable trio, this sort of dramatic freedom could have been a disaster. [more]
A fresh antidote to the usual brassy, loud rock musicals of today, "Los Otros" slows down the tempo and the sound level with a story of the experiences of two people who learn to love, cope and risk over the course of many decades. Luba Mason and Caesar Samayoa are quite endearing as the two California residents whose lives overlap. They give remarkable performances mainly appearing alone on stage telling and singing their stories. Cudos to librettist Ellen Fitzhugh and composer Michael John LaChiusa for bucking the trend and giving us a deep but small-scale musical revealing two lives through variously well-chosen experiences which add up to lives well lived. Long after you see it, it you will recall incidents that Lillian and Carlos recount. This may be the result of the fact that Los Otros is based on real people and true life experiences. [more]
As a piece of writing, "The Near Disaster of Jasper & Casper" is whacky and creative, and except for a couple of out-of-place bits of humor, one involving a middle finger and another a candle called “Blow Me,” it is charmingly humorous. The story even becomes lightly touching when Jasper’s love for his brother Casper is tested, and Jasper learns the real meaning of family and what it is to be responsible for others besides himself. "The Near Disaster of Jasper & Casper" is a thoroughly enjoyable, quirky fairy tale told by an expert storyteller, Jason Woods. By the end of this foray into the woods, it was time to go, I hated to leave, I had to, though. Worth a second viewing. [more]
If Samuel Beckett had been a Jew, his "Waiting for Godot"’s Estragon and Vladimir could have emerged as the equally quirky "Two Jews, Talking," in the appealing new two-hander by Ed. Weinberger starring Hal Linden and Bernie Kopell, all three TV legends. The two characters in each one-act play, talk and talk and get nowhere—very pleasantly with just the right touch of surreal mystery. Weinberger ("The Tonight Show," "The Mary Tyler Moore Show," "Taxi," etc.) has fashioned a quiet tour de force for these two veterans. Linden, a spry 92, is not only a TV veteran ("Barney Miller") but a star of the Broadway stage, including his Tony Award winning performance in "The Rothschilds." Kopell (89) is remembered for his long-running turn as the ship’s doctor in "The Love Boat" among many other appearances. [more]
The animated Aline Salloum fearlessly embraces all of Najaf’s unsettling complexities, delivering a riveting performance. In the early sexually frank verbal exchanges, Ms. Salloum marvelously recalls Elaine May’s matter of fact comedic brilliance. With his captivating boy next door presence, Erik Larsson as Drew offers a smashing characterization combining naiveté and Machiavellianism. As Josh and Ben, the equally commanding and personable Jalen Ford and Jake Bryan Guthrie wonderfully evoke boyish randiness and adolescent confusion. Though clearly not teens, this youthful quartet are totally and effortlessly believable in their roles. [more]
While this is not an in-depth interpretation and at times seems a bit superficial, Will Pomerantz’s production of "Three Sisters" is a true ensemble making it appear that these people have lived together for years. His new adaptation in contemporary idiom is easy on the ears and easy to comprehend. The pacing of the production is always on the move which is saying a good deal when it comes to Three Sisters which is often performed in a glacial style to mirror the characters’ boredom and disappointments. Here the characters complain about their fate but get on with their lives. [more]
Freshman playwright Charles Gluck, a retired gastroenterologist who has finally followed his dream to write a play, has turned out one terrific piece of theater. There is virtually no superfluous dialogue in this script; almost every line serves a specific purpose, whether it’s to provide key exposition, continue to build the play’s fully three-dimensional characters or to accelerate and intensify the dramatic through point. [more]
Margaret Edson’s Pulitzer Prize winning play Wit, an exquisitely literate and dramatically poignant piece, would certainly suffer in the hands of less than able artists. Fortunately, the production currently running at The Paradise Factory is in well-talented hands and does the material proud. Director Brynn Asha Walker (who also provides sound design and plays Nurse Susie Monahan) has carefully shaped this production for maximum impact, cultivating Stage Four ovarian cancer patient/professor Dr. Vivian Bearing’s (Erin Cronican) gripping descent from dignity to death in a compelling manner. The lighting design by Scott Monnin coupled with Phoenix Lion’s projections of well-placed phrases from the script artfully provide mood and thought provocation, all enhanced by Walker’s sound design. [more]
Sadly, these promises aren’t kept in this mishmash of plots and characters that never quite meshes into a viable whole; it remains an unsteady comedy/fantasy never morphing into a smooth-running play. Cissel awkwardly interrupts the play, alternating reality—such as it is—with colorful dance/mime sequences. The characters—including the Mother/aka Severed Head—yell at each other, most often about that poor, ubiquitous head, garishly made up for the Mexican celebration of El Día de los Muertos. Every time the head speaks her mind the play comes to impudent life. [more]
