News
& Reviews from New York |
|
April 29th,
2004
The current FIDDLER ON THE ROOF, directed by David Leveaux, is a great
spectacle with an imaginative set by Tom Pye, good lighting by Brian MacDevitt,
and a mixture of good costumes and anachronisms (village men in 1905 didn't
wear Hassidic black and white) by Vicki Mortimer, with terrific (the original)
choreography by Jerome Robbins. The great songs all work well, all the
women sing beautifully, and, all in all, it's a pretty good FIDDLER, and
since Zero Mostel or Hershel Bernardi are not doing their versions across
the street, it's worth seeing. However-- although Randy
Graff makes a good Golda, missing in Alfred Molina's Tevya are the sparkling
peaks of joy, deep moving sadness, and eviscerating frustration that the
part really needs. This version doesn't break your heart (they'll all
be okay: they'll go to America)- but it does entertain you, particularly
with a star turn by one of the funniest physical comedians you'll see
anywhere ever-- John Cariani as Motel. He tops Roberto Begnini.
*** Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
Hugh Jackman is a phenomenon: the very rare "Matinee Idol."
He's a rocket, a flare, a slinky-- joy fills the theatre and the women
kvell and the men grin broadly at everything he does. His voice is
thrilling, with almost a Willy Nelson resonance and nasality, his lean
springly body flashes, bounces around the stage; he twists like Jim Carrey.
And he does standup interaction with the audience between his episodes
in the life of cabaret performer/songwriter Peter Allen who knew Judy
Garland and married her daughter Liza. With the look-alike/sound-alike
Isabel
Keating as Judy and the excellent Stephanie J. Block as Liza, with the
amazing Mitchel David Federan as the young Peter, a super singing/dancing
chorus, director Philip Wm. McKinley gives us a first class Broadway musical
comedy, with fun choreography by Joey McKneely, in a fine set by Robin
Wagner, polished off with a Las Vegas finale costumed with outrageous
flair by William Ivey Long. A good time was had by all.
*** 2/3 Richmond
Shepard-- Performing Arts INSIDER,
and lively-arts.com
|
|
April 26th,
2004
Lorraine Hansberry's profound, funny, powerful play, A RAISIN IN THE SUN,
now on Broadway, is as poignant and relevant today as it was in 1959 when
it was first produced. This story of the struggles of a black family in
Chicago in the 1950's to survive, to grow, to make it in a difficult,
frustrating world, is a gripping domestic drama with a fine cast. Hansberry
is a wonderful writer with a keen ear for the nuances of the flow of people's
speech and deep insight into their inner workings. The penetrating humanity
of her writing creates an empathy in the audience that is emotionally
and spiritually uplifting. Audra McDonald and Phylicia Rashad are superb
as the wife and mother of the troubled man of the house, played by Sean
Combs, who does a good job in his first Broadway role. Sanaa Lathan brings
a dimension of pure entertainment to her role as an aspiring doctor as
she dances, and her smile and spark light up the stage. Young (former
Simba) Alaexander Mitchell is the perfect cub with a mind of his own,
and both Teagle F. Bougere and David Aarom Baker perfectly fill their
roles as quintessential African and quintessential white bigot with verve
and conviction. Director Kenny Leon, aided and abetted by Thomas Lynch
(set), Paul Tazewell )(costumes) and Brian MacDevitt (lighting), gives
us a splendid production that will move you, shake you, make you laugh,
and ultimately touch you down deep in your soul.
**** Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
|
|
April 21st,
2004
Stephen Sondheim's ASSASSINS, about famous killers and
would-be killers (like John Wilkes Booth, Lee Harvey Oswald, John Hinkley,
Squeaky Fromme)) of famous people (like Lincoln, Kennedy, Sharon Tate),
with songs by Sondheim and book by John Weidman, is a piece of expressionist
theatre that occasionally works as vibrant musical drama, but often sinks
into inane verbiage. Lyrics and melodies, as ever, are Sondheim
clever, but the combination of Weidman's protracted wordiness by some
of the miscast actors (one, a good singer whose accent is incomprehensible,
another who moves well but can't sing) gives us the mixed-up mess of an
interesting idea. Although a lot of the show is muddled, a couple of two-person
scenes work quite well
and will grab you: Becky Ann Baker as Sara Jane Moore and Mary Catherine
Garrison as Squeaky, and Garrison with Alexander Gemignani as Hinkley,
and-- Neil Patrick Harris is an appealing singer. The magnetic presence
of the powerful singing and acting star Mark Kudisch is basically wasted
in a minor role. The worst
scene to me is a lot of horseshit about past assassins convincing Oswald
to shoot Kennedy. All in all, this "Madness of Stephen S.",
although well designed by Robert Brill (set), Susan Hilferry (costumes)
and Jules Fisher and Peggy Eisenhauer (lighting), is an
experiment in contrariness that, with the uneven casting and direction
by Joe Mantello, doesn't work as expensive Broadway theatre.
*1/2 Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
|
|
April 20th,
2004
Rene Ruiz is a Sound Genius. His show TOXIC AUDIO in
LOUDMOUTH, now at the John Houseman Theatre, uses five
human voices, amplified, modulated and reverbed, to create the entire
sound: clear voices and accompaniment (mostly reverberating bass sounds),
giving us sound counterpoints of sustained notes and rhythms. All the
voices are top level, and,
reminiscent of The Swingle Singers, an a capella group from my past, their
straight performances of some songs like "Stand By Me" and "The
Rose" are also first rate. Outstanding in the excellent cast is charismatic
Paul Sperrazza, who is a mime, a physical comedian, and a fine singer.
He's a star performer
who reaches Danny Kaye levels. But they're all terrific, and Ruiz, the
primary bass sound singer, who conceived and directed the show, aided
and abetted by David Brooks (costumes) and Peter R. Feuchtwanger (set
and lights), has given us a smashing, rare evening of unusual musical
entertainment.
***1/2 Richmond
Shepard-- Performing Arts INSIDER,
and lively-arts.com
|
|
April 15th,
2004
Frank Langella is a theatrical treasure. In MATCH, by Stephen Belber,
zippily directed by Nicholas Martin, with a fine set by James Noone, now
on Broadway, he has a great time (and so do we) as he plays a former dancer/choreographer
in a camp caricature with a tres gay sensibility. It's full of amusing
banter as he interacts with an interviewing couple, the grim Ray Liotta
and the delicate, sensitive Jane Adams who prompt him to talk about his
life and times. The play has an overabundance of exposition, but Langella's
performance is marvelous (if a bit overdone at times), but he is that
rare entertainer who can hold you no
matter what he says. It's his play-the others are there basically as a
sounding-board for him to blow. Is it entertaining? Absolutely. Is it
a well-written play? No- it's overdone, predictable, has tangents that
seem to be inserted just as an excuse for Langella to perform. Should
you see it? Of course.
Run- buy a ticket immediately (if not sooner)-- you don't want to miss
a moment of Langella.
*** Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
|
|
April 1st,
2004
SLY FOX by Larry Gelbart and Moliere, is a splendid farce with the entire
cast made up of star farceurs. They don't make better than the comic master
Bob Dishy, whose takes reveal hilariously what he is thinking, delivering
Gelbart's priceless lines. Rene
Auberjonois' gives us an absurd Pantalone, with an impossible crablike
physicality, hobbling ridiculously on the stage; Bronson Pinchot, looking
almost like Laird Cregar, is magnificent-- strutting, twitching and cringing;
and Richard Dreyfuss gets to do three characterizations: the very sick
miser, the lively, scheming miser, and as a splashy judge, where Dreyfuss
tops himself in comic performance. His physical comedy throughout the
show is a surprise and a delight. The strong, handsome Eric Stoltz is
the
center that holds the play together, and he is perfect-full of mischievous
life and great charm. Peter Scolari does a preposterous turn as an overwrought
police chief, and the two women, Rachel York and Elizabeth Berkley, are
stunningly beautiful, and York can act (Berkley doesn't have to). The
set
by George Jenkins and Jesse Poleshuck is fabulous, as are costumes by
Albert Wolsky and lighting by Peter Monat. Arthur Penn has once again
directed with the sure hand of the master- making all the fol-de-rol seem
possible, all with unbeatable comic timing. If you go to the theatre to
cry and suffer, this is not
for you. If you go to laugh, SLY FOX is the one to see.
*** 3/4 Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
Want to hear a great Country singer? In fact, a whole cast of real singers
with style and fine voices? Go see JOHHNY GUITAR at Century Center. I
could listen to Judy McLane all night, and in this takeoff on the Joan
Crawford movie, written by Nicholas Van
Hoogstraten with music by Martin Silvestri and lyrics, direction and some
music by Joel Higgins, McLane fills the theatre with her voice, her presence,
her stylized portrayal of a Western diva. Steve Blanchard, in the title
role, is big, strong in body and voice, and his occasional character twitches
are truly funny, and Robert Evan as the chief villain, The Dancin' Kid
(who can't dance) is a good foil. The whole show is fun, and director
Higgins has great comic insight in this incisive satire. Set by Van Santvoord
and costumes by Kaye Voyce nicely enhance the proceedings, and a good
time is had by all.
*** 3/4 Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
|
|
March 25th,
2004
SARAH, SARAH by Daniel Goldfarb, now at Manhattan Theatre Club, has a
fine set by James Noone. The play is a lightweight piece of almost comical
fluff, including an overweight transvestite in his fifties nicely played
by Richard Mazur. Although the first
act is set in 1961, it has the sensibility of 1936 (or perhaps 1913--
Pogroms are referred to) when a Polish mother (J. Smith-Cameron- out of
her element), in simplistic "kitchen sink" domestic arguments,
which get lamer as the play progresses, rejects her son's fiancée
(a mannered Lori Prince) because she is poor, and has a fit when she finds
her son wants to study Philosophy instead of Dentistry. 1961 was not Clifford
Odets time-- the depths of the Depression. The act segues into unconvincing
melodrama. The next generation, in 2001, goes to China to adopt a baby,
and the act begins with bad sit-com jokes about
constipation, awful, irritating bickering between a father (Mazur) and
daughter (Cameron-Smith in her element) and boring exposition. It seems
to be a tract against buying a pig in a poke. Hello? The writing is at
the level of a good college-level play-
way way below what a paying audience wants to see. Some of it is idiotic,
some just boring, some is just misdirected by Mark Nelson. But what can
you do with a sow's ear? Don't you love it when people talk to a bundle
of cloths (a baby) with a sentimental monologue about things we already
know? And about love being most important? In this final scene, Mazur
moved
himself to tears.
* Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
|
|
March 20th,
2004
MINISTRY OF PROGRESS, created and directed by Kim Hughes from a play by
Charlie Morrow, is another semi-Brechtian show about a mythical dictatorship
with a Kafkaesque maze: a man trapped by bureaucracy- an innocent in a
strange and hostile surreal nightmare world. But this show makes Kafka
seem like Neil
Simon- it's simplistic nonsense with no clear intention or point. It feels
like the inmates of a schizophrenic ward, all of whom can sing really
well, are putting on a show set in a bizarre world. It's
even got a children's song-- for Peter Rabbit??!!? Although the acting
is uneven, the singing is excellent, thanks to musical director/arranger
Christian Martirano, but it all seems a waste of these fine voices lost
in uninteresting rhetoric. Unfortunately they often tend to sing at you
rather than to you or to each other. Some performances stood out: Christian
Whelan's acting and singing is Broadway level, and I'd love to see him
in a more
interesting show. Maia A. Moss and Gary Marachek put power into their
singing, and the band is super under conductor Tommy Farragher who does
a great job of trying to turn the work of eleven composers into something
viable. It's not his fault that it's not. Nor is it the fault of Adriana
Serrano's set or Fabio Toblini's costumes. It's the writing and directing
that fails.
*1/2 Richmond
Shepard-- Performing Arts INSIDER, and lively-arts.com
|
|
March 17th,
2004
In the play EMBEDDED, written and directed by Tim Robbins, we learn that
the media lies to the public and that the government controls the media.
Gosh! I never knew that. We also learn that Tim Robbins is a better director
than writer. The most interesting
part of his show is the projections of dazzling old war films and splay
of lights during the scene changes. The rest is simplistic Agit-prop polemic
diatribe, mostly declaimed in a Brechtian manner, including masks for
Bush's cabinet, but without Brecht's innovative theatrical tangents and
delights. EMBEDDED is basically a boring show with very uneven acting,
some of it truly awful, some of it quite good, as in a scene between an
Iraqi doctor and a captured American woman, with some loud music, shooting
and
yelling occasionally to wake us up. Since it describes past events (the
Iraq war) and prescribes nothing, and we don't at this time have a time
machine to go back and fix anything that's already happened, I'm not sure
to what end Mr. Robbins exposes us to his
well-meaning harangue. If you want to preach beyond the choir, you have
to draw us in, not shout things we, the left, the critics and condemners
of inhumanity, already know.
* Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
|
|
March 2nd,
2004
Barbara Brussell is not only a top-level cabaret singer, she's also smart.
She picked one of the best, most profound, serious and humorous lyricists,
Alan Jay Lerner, and built a cabaret act on his songs The captivating
melodies of Frederick Loewe and the
brilliant lyrics of Lerner resonate beautifully thru Brussell's lovely
voice. She exudes warmth, charm, and charisma, and songs from Brigadoon."
"Camelot, and Burton Lane's '...Clear Day..." are brought to
vivid life by this engrossing singer. I caught her at
Danny's on West 46th St., and she'll be there again with this show April
2nd and 3rd at 9:30 PM. 212/265-8137. Check Danny's for the dates of her
other show: "The Piano Bench of my Mind."
Richmond
Shepard-- lively-arts.com
|
|
March 2nd,
2004
BUG by Tracy Letts, now at the Barrow Street Theatre, is a naturalistic
slice of motel life among working class Oklahomans performed by actors
with a sense of being that is seldom seen on the stage today. We are looking
thru the wall where a real life seems to be going on. Shannon Cochran,
Michael Shannon, Amy
Landecker, Michel Cullen and Reed Birney are a rare acting ensemble, directed
with an enthralling sense of timing by Dexter Bullard. This is what "The
Method" was about- it meant real people with genuine emotions. Lauren
Helpern's super-real set with Tyler Micoleau's subdued lighting create
the depressed, edge of town motel on the outskirts of urban scrawl. Sound
design
by Brian Ronan nicely underlines the work. A woman, her criminal ex-husband,
a strange man, her lesbian friend, and an infestation of bugs. Or is it?
The reality segues into paranoid melodrama conspiracy theory. Is it paranoia?
Are the bugs real? Is it an
army experiment gone wrong? Is it all craziness or not? Bug has some of
the best acting and directing in town, and has a dramatic last moment
that is unforgettable. It's a theatrical event- a rare chance to see this
most compelling style of realistic acting.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
|
|
Archives:
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|