News & Reviews from New York |
March 31 *** 3/4 Richmond Shepard Performing Arts INSIDER Want to spend a dollar
a minute to see a cute little sit-com? It's Broadway; it's $70 a seat;
it's 70 minutes long: THE SMELL OF THE KILL by Michele Lowe. The boorish,
idiotic husbands of three well-to-do women are trapped in the meat freezer
in the basement. Should they let them out? That's the play. And it does
start cute. Then it gets dumb; then it segues into real stupidity, with
a sprinkling of good sit-comish jokes. It's all really one joke, though.
** Richmond Shepard
Performing Arts INSIDER, and |
March 27 **** Richmond Shepard, Performing Arts INSIDER Wit, sophistication,
charm- where do you find it these days? At the Mint Theatre on West 43rd
St. in S.N. Behrman's 1939 play NO TIME FOR COMEDY. Directed by Kent Paul,
who captured the flavor, the style of the ***1/4 Richmond Shepard
Performing Arts INSIDER, and
**** Richmond Shepard
Performing Arts INSIDER, and |
March
19
QED, now at Lincoln
Center, is a visit with Nobel-winning physicist, drummer and humorist
Richard Feynman, one of the most interesting men of the 20th Century,
portrayed by one of the most likable actors on Earth Alan Alda.
Both men have a contagious life spirit, and this show is the rare one
with intellectual and philosophical content that is unceasingly engaging.
Its a treat for the mind and a theatrical delight. Feynman and Alda
What a combo! Peter Parnel has somehow fashioned Feynmans material
into a play that is an uncommon treat it has fascinating content
and is totally entertaining. Gordon Davidsons direction is filled
with imagination, flair and humor which doesnt undercut the drama
of the end of Feynmans life.
* -- Richmond Shepard
*** Richmond Shepard |
March
16
For a lesson in overacting and scenery-chewing, you might want to check out Eve Ensler's cliché-ridden new play NECESSARY TARGETS at Variety Arts. The performers are acting instead of being even on powerful lines with content strong enough to move one by just being spoken. Except for Catherine Kellner, a fine actress who is real throughout the play. An hour into the show, I was unmoved; until a simple scene between Shirley Knight and Diane Venora which was toned down because they were drunk. Basically, the show is the old "Patients teach the doctors," and let's end up with the atrocity stories, as expected, which are also overacted. If you're a flagellation fan, go see this play. You'll get your emotional whipping towards the end. Director Michael Wilson destroyed what value there is in the script. But-- the set by Jeff Cowie is GREAT! *-- Richmond Shepard
Performing Arts INSIDER, and There's a delightful little musical playing at The Minetta Lane Theatre: THE LAST 5 YEARS by the talented and original Jason Robert Brown. When we enter the theatre we are struck by the beauty, brilliance and originality of Beowulf Boritt's magnificent set of a wedding chapel seen from above. It's breath-taking. The show is about a five year marriage between a writer and an actress, both twenty-three years old. Norbert Leo Butz and Sherie Rene Scott, a beautiful woman with a clear lovely voice and great physical communication, have presences that fill the theatre with the inner and outer lives of their characters. The lyrics are clever and insightful, the music memorable, the direction by Daisy Prince clear and original, the lighting by Christine Binder a powerful compliment to Boritt's set. Although elements of the story are missing (Jason Brown is young, and the major problem in the marriage of the couple is their youth) it's a thoroughly enjoyable evening of musical theatre. ***3/4 -- Richmond
Shepard Performing Arts INSIDER, and |
March
15, 2002
Don't go to see ONE MO' TIME, now on Broadway, unless you want to smile for two hours. This show is basically a concert of happy New Orleans music- a 1920's "Colored Show" on tour. Written and directed by Vernel Bagneris, who, with his relaxed sleepy tone defines the soft shoe dance. He's the epitome of cool, singing and dancing. Co-starring three spectacular women who sing, dance and characterize, B.J. Crosby, Roz Ryan and Rosalind Brown, with a scintillating five piece band, the show is part Bessie Smith, part minstrel show, all good natured, all entertaining, all fun. ***1/4 -- Richmond
Shepard-- Performing Arts INSIDER, and |
March
14, 2002
THE GOAT by Edward Albee posits a happily married successful architect who falls in love with a goat. For the first two thirds, it's lots of fun, full of jokes about this weirdness, delivered sharply by the brilliant comedienne/actress Mercedes Ruehl, with the placid Bill Pullman as her foil. The writing here is crisp and smart, and clever director David Esbjornson keeps things rolling comically by having Ms. Ruehl smash things. Sections with their gay son, well-played by Jeffrey Carlson, also work. Other parts of the play, particularly those for Pullman's "best friend," are inept, inconsistent, and although necessary for the conveyance of information, as played by the badly miscast Stephen Rowe, an awkward intrusion into the bizarreness of the play. The last part gets serious, and I'm unclear as to what the metaphor is. Albee can be relied upon to be interesting, to take you on a trip. As this one reached its destination, although not a bad trip, it left me unsatisfied. Except for Ruehl. What a treasure! **3/4 --Richmond Shepard-
Performing Arts INSIDER, and |
March
13, 2002
URINETOWN- a title to repel any audience. Well my first instinct to skip this show was at least partly right. It's a mildly amusing one joke show with good professional performances in a silly, sometimes campy, sit-com with one slightly off-color bathroom joke: you have to pay to pee. The sit-com oriented audience laughed on cue. It's great to see John Cullum do the Bunny song, and the romantic leads, Jennifer Laura Thompson and Hunter Foster, are fine singers and actors (as are the rest of the cast). The Fosse dance takeoff and the faux folksong Freedom in Act 2 give a needed lift to the proceedings. But the totality is an attempt at a spoof that only sometimes works, and has, for me, an unsavory flavor not entirely dispelled by the good performances. Director John Rando does as much as one can with the material, and URINETOWN is getting large, enthusiastic audiences-- dumb bathroom jokes often do, but rarely on Broadway. ** --Richmond Shepard-
Performing Arts INSIDER, and Richard Eyre has directed a gripping, powerful production of Arthur Miller's THE CRUCIBLE, now on Broadway. Liam Neeson brings the main character to vivid life, and is so strong that it amplifies his fall when this invulnerable, honest man is attacked by religious fanatics in the 17th Century. Brian Murray, bringing a soft honesty to his role, gives one of the finest performances of his career, and Angela Bettis shines as the unrelenting accuser. The entire ensemble, including Laura Linney, John Benjamin Hickey, and some first rate Salem witches, is strong and believable, and the amazing set by Tim Hatley becomes a character in the play, aided by Paul Gallo's moody lighting. **** --Richmond Shepard-
Performing Arts INSIDER, and The enchanting show METAMORPHOSES, now at the Circle-in-the-Square Theatre, is in the perfect home for this imaginative concoction. Where else could the audience get as wet? It's an Arabian Nights out of Ovid-ancient tales retold with marvelous theatricality "Story Theatre" style, with brilliant conception by writer/director Mary Zimmerman, set by Daniel Ostling, costumes by Mara Blumenfeld and great lighting by T.J. Greckens. There are vivid images, and many funny moments in the juxtaposition of ancient doings with contemporary language. It's all played in a wading pool by very drenched actors, all of whom splash well. Go see-it's fun-- with a touch of profundity stirred into the mix of Orpheus, Eurydice, Hermes, Midas, Phaeton, et al. ***1/2 --- Richmond Shepard The generally high level Manhattan Theatre Club has a show called FOUR, by the very inept (for much of the show, we're listening to one half of a telephone conversation) Christopher Shinn, whose forebear was undoubtedly the bumbling Mayor Shinn in "Music Man." Much of the dialogue rings false in this story of two interactions: a teenage gay white boy and a fifty or so year old black man who likes boys, and the man's lovely bright daughter and her illiterate basketball-playing young lover. The styles of acting in the production are at odds with each other. Pascale Armand as the girl is real and believable, Armando Riesco as her boyfriend defines his character by grabbing his crotch and imitating a Puerto Rican East Bronx accent. Keith Nobbs, as the teenage boy, is naturalistic and introverted, and Isiah Whitlock,k Jr. doesn't act- he declaims loudly, and punctuates every sentence with severely irritating phony laughter. In one spot, he moves himself to tears. The result is a tedious hour and a half, poorly directed by Jeff Cohen, with a worthy set by Lauren Helpern. * --- Richmond Shepard |