News
& Reviews from New York |
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October 29th,
2004
UNCLE JACQUES' SYMPHONY, now at the Soho Playhouse, gives us the chance
to see a remarkable actor/writer, Dominic Hoffman, in a series of characterizations,
male and female, masterfully capturing and communicating the essence of
each in both performance and writing. He has the attitudes and physical
moves
of an old jazz drummer, Jacques (and reminds me of both Lord Buckley and
Lenny Bruce in wording and delivery); an agile, hip young man on a basketball
court who knows how to approach women; a young Puerto Rican woman; a pompous,
patrician sixty year old painter with a mid-Atlantic accent and a particular
vulnerability; an old black woman who is cooking for her family; a damaged
boxer; and a marvelous portrayal of a working class white man at a black
funeral giving a eulogy for a dead drug dealer. Each character is unique,
deep, full, with a clearly differentiated life force. Hoffman's great
talent and versatility is
rare-- don't miss UNCLE JACQUES' SYMPHONY.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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October 19th,
2004
Want to have a marvelous theatrical experience? The Actors
Company Theatre TACT) is without a doubt the best play-reading troupe
in this town (or any other town that I've seen). Their staged readings
of classics, script in hand (the scripts soon become invisible), with
a hint at costuming, have the full dramatic
intensity of a fully-realized production performed by Broadway actors.
Their most recent, Terence Rattigan's 1942 wartime British Airforce drama
FLARE PATH, flawlessly directed by Simon Jones, is brought to full life
by their splendid cast. Next on their
agenda is "The Firebugs" by Max Frisch-- November 20th thru
22nd. 212/645-8228, E: info@TACTnyc.org.
**** Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
Playwright Craig Lucas tries to dazzle us with footwork in his skewed
mish-mash of a comedy, RECKLESS. Some of his writing is sparkling, with
witty surprises, but ultimately it is the cast that
keeps the show alive and interesting. Mary-Louise Parker shines with an
impeccable sense of comic timing as a wife whose husband confesses that
he has taken out a contract on her life, a solid, strong, convincing Michael
O'Keefe secures the center, and a quirky, charming Rosie Perez tickles
us with whatever she says (or doesn't say). It's all just a fun piece
of fluff with an anti-psychotherapy theme woven in-- more of a kooky vaudeville
show than a play, well directed by Mark Brokaw and well performed by the
entire cast, including Debra Monk. The set by Allen Moyer is quite clever,
and lighting by Christopher Akerlind and costumes by Michael Krass aid
and abet the proceedings quite pleasingly. Want to see a great play? This
ain't it. Want to see a great comedienne? Parker's it.
**1/2 Richmond
Shepard-- Performing Arts INSIDER,
and lively-arts.com
You don't
have to be Jewish to laugh at the nonsense in JEWTOPIA by Bryan Fogel
and Sam Wolfson now at The Westside Theatre. Full of self-mockery and
some very funny stereotypic observations, it's universal enough for anyone
to laugh. There are more Jewish jokes per mile than three Jackie Masons.
The two writers, who are the leads, are good comedians, and their
performances are topped by the hilarious, ridiculously funny Jackie Tobin
in a bevy of absurd characters all played full-out vocally and physically
with bravado, schtick and panache. And both Cheryl David and Gerry Vichi
come thru in several roles with great conviction wound up a notch to comedy.
I think JEWTOPIA's two
acts could be condensed into one, but it does work most of the time this
way. Costumes by Cynthia Nordstrom enhance everything. Director John Tillinger
gives us a sliver of the national population in a comedy for the whole
pie of us.
*** Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
EAT THE TASTE,
the Monday night political satire at the Barrow Street Theatre, by the
men who wrote "Urinetown," suggests that John Ashcroft, the
Attorney General, really wants to be in Musical Theatre. It's a farce,
including a great fight scene choreographed by David Brimmer, and is full
of showbusiness in-jokes and FBI ridiculousness. It's fun to put Ashcroft,
Cheney and their fellows down. The performances are as over-the-top as
the premise, and at 65 minutes, director John Clancy keeps us amused.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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October 15th,
2004
If you want to see one of the worst written, acted and directed shows
in town, try WHITE CHOCOLATE by William Hamilton, directed by Davie Schweitzer.
The premise, white couple, one a WASP, the other Jewish, wake up to find
that they are black, can be funny, as in the really witty movie from the
60's, WATERMELLON MAN starring Godfrey Cambridge. Not in WHITE CHOCOLATE.
It labors to be funny, pushing everything over the
top-- no acting, only performance at full blast, wasting talents like
Julie Halston and Lynn whitfield. It is the lowest level of sitcom-- shallow
idiocy comes to mind. The set, by James Noone, was just fine. When I reach
the point in a production when I
would pay money not to be there, I leave. Perhaps Act 2 redeemed the production,
but I left at intermission.
* Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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October 12th,
2004
Keep you eye open next year for the STARVING ARTISTS BALL. I just went
for the second time, and it once again has an interesting art exhibit,
music live and recorded, dancing, food, drink, and an elegant air. A joyous
cultural time was had by all.
Richmond
Shepard--
lively-arts.com
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October 11th,
2004
Take what I say with a grain of salt on this one-- I'm a Mime and have
longtime experience with great clowns like Avner The Eccentric or Bill
Irwin (or Emmett Kelly). SLAVA'S SNOWSHOW, at the Union Square Theatre,
is about ten percent good clowning, a couple of good clown dances by the
several other identical
tramp clowns in the show, and the rest is not much besides sounds (some
irritating, some interesting, some awfully loud) by Rastyam Dubinnikov,
bubbles, an interesting uncredited set, and good lighting by Oleg Iline.
The audience gets water squirted at them several times, a spider web pulled
over their heads, and a hurricane of paper snow in their faces at the
end (don't sit in the front) with blinding light and sound blasting at
them. Slava, whose stage persona is rather sleepy, is not particularly
funny-- the only ones who laughed when I was there were the three
year olds in the audience. He does have a cute bit with telephones and
a nice moment of clown romance with a coat on a clothestree, but all in
all, it's more sizzle than steak.
* 1/2 Richmond
Shepard-- Performing Arts INSIDER,
and lively-arts.com
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October 7th,
2004
Oh Boy-there's a new musical political/satirical review just opened, and-
Oh Boy-O-Boy! It's great!!! NEWSICAL, at Studio 54, with four Broadway-level
characterizers, Kim Cea, Todd Alan Johnson, Stephanie Kurtzuba and Jeff
Skowron, the only show of its kind in New York now, directed by Donna
Drake, is terrific.
It's funny, insightful, yes- enthralling-- all with great writing by Rick
Crom, clever design by Peter P. Allburn, zany costumes by David Kaley,
and superb performances. And- it's even handed. Makes fun of everybody,
left and right. Of course Kerry and Bush
are targets, but so is McGreevey of New Jersey, Schwartzenegger, Martha
Stewart, the Kennedys in heaven, and wait 'til you see Kim Cea as Barbara
Streisand, absolutely brilliant as Michael Jackson, and hilarious as a
deadpan Botox recipient reminiscent of Virginia O'Brien, the deadpan movie
actress from
long ago who you never heard of but I saw. And Stephanie is an unforgettable
Liza. They cover AOL dating, Queer Eye, tranquilizers, Dr. Phil, Gay Rights,
and lots more. The second half goes deeper into out collective psyche,
and tops the first's
social issues. All terrific singers, all with superb comic timing, all
bitten with the comedy bug that is rare and totally engrossing.
If you don't have a good time, I'll give you a dollar.
**** Richmond
Shepard-- Performing Arts INSIDER,
and lively-arts.com
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September
30th, 2004
I saw a rather odd, but still engaging, show the other night. Act One
of WOMEM ON THE VERGE OF HRT, by Marie Jones, is about the angst of a
middle aged divorced woman (Joan D. Slavin) and her still married (but
unloved) friend (Kelly Taylor) in Donegal, Ireland, in a hotel where they
have come from Belfast to see a
singer do a show. Both women are strong performers, and their emotions
are clear. Then they sing a song, in an antique, almost John Gay mode,
and the tone shifts-- although they are both quite good. Back to the scene,
and a waiter (Tom Souhrada) turns the play into a romantic musical when
he sings in a more
contemporary vein. Then it goes back to the content:
the invisibility of middle-aged women. Act Two is a different show-a surreal
fantasy, set near the shore, and Souhrada plays the ex-husband, his second
wife, the unloving husband, and several other characters of all ages and
natures. He's remarkable-an extraordinary actor and singer. The content
still has a lot to do with getting older. But there are lots of (perhaps
too many) axes to grind, and it becomes, in its totality, a somewhat repetitious
pastiche of style and content. Still, as directed by Lynne Taylor Corbett,
who plumbs all possibilities of the play, it
is an interesting piece of theatre performed by really good actor/singers.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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September
20th, 2004
In BEYOND THE DMZ, director Eu-Hee Kim and choreographer Natasa Trifan
have created a powerful dance piece about Korean history, the separation
of North and South, the Korean War, the Demilitarized Zone, and it's impact
fifty years later on families
who have been separated. This Dance-Drama is well conceived and artistically
well executed. The supple, well-trained bodies of the agile dancers in
the company, using Modern Dance form, clearly communicate the pain, the
joy, the lives of these people. BEYOND THE DMZ is quite moving as, through
graceful energetic
movement by the nine dancers, sound (by Hyun Joon Yoon), music, costumes
(by Tae S. Kim), and light (by Daniel Green) it tells its powerful story
of love, separation, search.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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September
16th, 2004
Horton Foote is unique. Nobody today writes like him in the soft Southern
tone that quietly places you in the house with friends, becoming part
of their lives. In THE DAY EMILY MARRIED, now at 59E59 Theatre, exposition
is gently slipped into seemingly ordinary
conversation of this Texas family in 1925, and there is not a dull moment
in the ordinariness of these peoples' conversation in this moment of possibility,
frustration, pain, and insight into the human heart. With extraordinary
performances by the amazing Estelle Parsons in the complex role of an
off-center woman,
the tender Hallie Foote who is always inside her roles, and Biff McGuire
as the aging man trying to hold it together, and fine performances by
the rest of the cast, directed by Michael Wilson and designed by Jeff
Cowie, this production is a wonderful highlight to begin the Theatre season.
**** Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
TALENT, by Victoria Wood, directed by John Keating, is a British comedy
which takes place in the dressing room of a low-level theatre in the provences.
The featured actresses, Laura Knight as an aspiring singer, and Aedin
Moloney as her friend, are quite
amusing as they encounter an old magician (Alfred Hyslop), his sidekick
(Arthur Hall), and Tim Smallwood in two parts, one of them the epitome
of sleaze. The jokes are British, and a bit different from American humor,
and so are many of the references. Brits in the audience laughed in places
that the Americans didn't, particularly in some of the light vulgarities,
which I have found to be a common element in British humor in my many
trips to GB. It is funny, but it's not my funny. But-altogether, it's
a short, light, fun evening.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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