News
& Reviews from New York |
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April 21st,
2009
ROCK OF AGES is a retro rock musical with ole timey R & R from the
80s with good loose action and half-naked ladies dancing in
the aisles. Whats not to like? They have jig-sawed a pastiche into
an almost romantic story as the plot, which is soft-edged as they construct
a story based on the songs; the numbers are hard-edged. I brought with
me Australian singer Chloe Walton, who grew up with these songs, and knew
every word and melody. I knew none of them. Here are her comments on the
show: Its a blast! It brings in the new and the best of the
past. The pop hits were delivered as if they had been written for Broadway--
just got here twenty years later. The clever intertwining of dialogue
into song shows progressive writing, and I almost knew what song was coming
and how it fitted the narrative. It brought back memories of growing up
in a somewhat awkward pop culture era where clothes, hair and musical
taste were loud and proud.
It reminded us to Dream the Dream, Endure the Darkness, and be brave enough
to sing about it.
For me, though,
the simplistic story doesnt work, but the music and dancing (hot
choreography by Kelly Devine) do. Its all flashily directed by Kristen
Hanggi with spectacular costumes by Gregory Gale on Beowulf Boritts
imaginative set with super lighting by Jason Lyons, and, on Broadway,
a lap dance-- Im shocked! Its all a joyous romp.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
Bartlett Shers directorial concept of August Wilsons magnificent
play JOE TURNERS COME AND GONE has opened up the drama to new dimensions
that seem to reach far beyond the home of this Pittsburg family in 1911.
The innovative, stylized set by Michael Yeargan, with lighting by Brian
MacDevitt, is magical, and reaches to infinity, and so do we as we experience
the lives of people in a boarding house as they are played out. The acting
is deep and believable (except for a young boy who is basically incomprehensible)
and the men and women in the cast, including an extraordinary Roger Robinson,
and Arliss Howard as an outsider/insider, seem totally invested in the
characters they play. They live the lives of their characters with such
conviction that it seems we are part of a reality. Its delicately
directed, building to a spectacular spiritual/theatrical climax to end
Act 1, and an even more thrilling one to end the play. Its stunning.
Wilsons play is rich, delicious, inspirational. He is in the elite
of American playwriting along with Eugene ONeil, Arthur Miller,
Horton Foote and Tennessee Williams, and this is one of his very best.
Dont miss it.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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April 16th,
2009
THE HARD LUL
Ella Jane
News fresh New York Company, Discovery Hill Productions presented
its first production, THE HARD LUL, at the off-Broadway Richmond Shepard
Theatre, directed by David Rey. It was a well crafted combination of eight
fifteen-minute plays which all question our ability to live in the
moment! There were some strong performances, including Ms New, the
young English actress, whose vivid persona was a definite plus for this
production as both actor and producer. Other outstanding performances
included Leigh Dillon, and Al Miro. The production included a combination
of comedy and drama, and it was a very positive and enjoyable theatre
experience professionally produced and performed.
Rollo Bretwick--
Performing Arts INSIDER and lively-arts.com
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April 13th,
2009
HAMLET, clearly directed by David Esbjornson, now at The Duke on 42nd
St., is a well-crafted, modern dress (costumes by Elizabeth Hope Clancy),
contemporary rendition of Shakespeares play with a fine actor, Christian
Camargo, in the title roll, my old Mime teacher Alvin Epstein as a crotchety
Polonius, and a mostly quite good supporting cast on an imaginative set
by Antje Ellerman with fine lighting by Marcus Doshi.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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April 13th,
2009
THE CODY RIVERS SHOW impresses as powerfully and uniquely as Blue
Man Group did when it first appeared years ago: original brilliance.
Two men, Andrew Connor and Mike Mathiey, wearing brightly-colored satin
wrestlers costumes, perform perfectly synchronized, mostly abstract
movements and dance while telling stories and reciting punchlines. And
their verbal riffs tickle the mind as they fix a car using familiar foreign
words to describe auto parts, as they do an interview in Greenland, as
they do a romance between two chairs, and perform a sketch on Opposite
Night. There is nothing like this act-- original physical and intellectual
comedy, terrific Mime and puppetry renditions, and all totally without
profanity. This is a great family show, and if the right booker sees them
they should be on all the late night talk shows, and eventually a top
Las Vegas act making the big bucks. Of course, in Showbusiness, one never
knows, do one?
And they
have an opening act for their show: David Cope, a calm-speaking, pleasant,
likable young man with an original slant whose unique, smart humor, aimed
at the intellectual (educated? geek? perceptive?) audience, is another
mind-tickler who starts you with smiles and seques into big laughs. And
without profanity what a pleasure. This is a comedian who could
go all the way.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
The Center
for Contemporary Operas production of DINNER & DELUSION, with
libretto by Nancy Manocherian and music by Michael Sahl, gives us a company
of accomplished singers in an opera about a Jewish family reality, and
a boys fantasy of romance as he grows from early teens to old age.
Its an engaging, entertaining work with humor, good voices and a
quirky story including a handsome fairy godfather (Christopher Herbert),
a taste of the Hippie era, a female trio with a hookah, and a dream of
mothers chicken. Leading man Demetrios Bonaros, in Hilary Krishnans
appropriate costumes, nicely transits through the stages of life, from
yearning boy to demented grandfather, and Blythe Gaissert as the object
of his yearn is particularly strong. Director Kira Simring gives lively
life and truth to the whole proceedings, and its a joy to find this
little opera company in a work with charm, fine performances, a story
I can identify with, and the
Jewish-flavored melodies and rhythms were fun for this old Jew-- in a
comfortable salon setting at The Cell on West 23rd St.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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April 09th,
2009
Remember Steambath or Outward Bound? Plays that
take place in Limbo where people dont know theyre dead? HAPPINESS,
book by John Weidman, music by Scott Frankel, lyrics by Michael Korie,
now at Lincoln Center, is another one, and this time the transition vehicle
is a subway car filled with a warm friendly cross-section of New York.
They are to pick a happy time in their lives, revisit it, and then can
stay there forever. An earnest Hunter Foster is the conductor, and all
of the very large cast can sing well. Director/choreographer Susan Stroman
has done as much as possible with the material, but its a musical
with virtually no memorable songs except possibly Road to Nirvana
sung by the glowing Joanna Gleason whose radiance fills the theatre, and
stories that are mostly corny and ordinary. Its 10 Little
Indians as one after the other of the deceased conjures and then
leaves. Theres a cute tooth fairy number,
an attempt at levity and tolerance when a Jewish/Chinese couple endeavor
to learn words in each others language, a fantasy of schtupping
Mick Jagger is entertaining, and Gleasons trip to the 60s
is fun because she has such a strong presence, but its a pale shadow
of Hair. There is some preaching, some shallow philosophy.
The show is basically static, and there has to be some movement and action
and there is-- in the brilliant, active set by Thomas Lynch. Its
inspired, but it cant dazzle us with footwork into thinking the
book is similarly inspired. Costumes by William Ivey Long and Donald Holders
lighting are, as usual, excellent. But the choices of situations explored
are obvious, ordinary, without innovation or sparkle, and without any
tangents of brilliance its all okay, which is not enough for me.
As we used to say: You walk out whistling the scenery.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
In REASONS
TO BE PRETTY, writer Neil LaBute gives good argument. Set in a warehouse,
the play starts with a well-performed (by Marin Ireland and Steven Pasquale)
amusing filthy word-filled (by the wife) battle a screaming, idiotic
fight sprinkled with clever expressions. Its all very well directed
by Terry Kinney, but it seems to me to be built on a sophistry: that saying
the obvious truth about someones looks will destroy a relationship.
LaBute has the wife insist that saying that a woman in dreary clothes
who wears no makeup is regular is a gross insult. I wouldnt
want to spend ten minutes with this unpleasant woman. Ireland is so good
an actress that the more she complained the more I was repelled. I learned
a long time ago to stay away from a chick as crazy as this with her idiotic
list of complaints. This character is like the last stop in the fallout
from the beauty culture of America. OK there are some clever lines,
but who wants to spend time with these lumpen proletariat
morons. Thomas Sadoski and Piper Perabo are terrific as the other couple,
and theres a really good physical fight scene, directed by Manny
Siverio, with the two men, and Ireland turns quite attractive for the
finish. LaBute is a good writer-- he has a gift for naturalistic dialogue
that can be entertaining. I just dont have a lot of patience for
people like this. Despite LaButes claim in the program that he comes
from a working class background, and in spite of some absolutely believable
perceptions and expressions by the characters, it seems to me to be an
intellectuals riff on working class conflict a peek through
the curtain into basically uninteresting lives spiced by a super-bright
writer with a gift for words.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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April 06th,
2009
The excitement, the elation, shakes the theatre at HAIR (book and lyrics
by Gerome Ragni and James Rado, music by Galt MacDermot) now on Broadway.
It has the characteristics of other great musicals: terrific, memorable
songs, sympathetic characters and a positive message of hope and joy that
cant be resisted. This cast is great: all good-lookin terrific
singer/actors, and Will Swenson as Berger is (in Act one) the dynamo that
drives the production. Its more than a show-- its an experience.
Youre part of a ritual, and the message of free sexuality still
resonates in our bones. With powerful lighting by Kevin Adams on Scot
Pasks multi-level set with the band suspended on the structure and
spectacular retro costumes by Michael McDonald, filled with stirring anthems,
this show, mostly sung, is so complex it seems almost impossible to have
been done. But director Diane Paulus and choreographer Karole Armitage
have created a new HAIR for
our time, and its a great, moving, spectacular piece of nostalgia
which is, in a way, even more relevant today with its spirit of
youth, rebellion and joyfulness. A great show.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
BEOWOLF:
A THOUSAND YEARS OF BAGGGAGE, by James Craig, starts cleanly with three
scholars talking about Beowolf. Then the music (by Dave Malloy) starts--
its thunk-a-thunk and dreary, slow and boring, all minor dissonance--
like a bad German expressionistic band from 1927. Im sure thats
what they intended, but it doesnt work for me as entertainment.
It got better with the arrival of Beowolf (played by a strong Craig).
While the lecture, which they keep coming back to, has satirical humor,
some of the dialogue in the show is repetitive, simplistic and boring.
Its very inventive, but the product invented is basically monotonous--
Kurt Weill meets Steven Sondheim in an immature anti-musical with a punk
tone. Act Two has a lively well-sung and danced number that picked up
the show, but some of the music seems out of the Ukrainian Steppes. All-in-all
an earnest endeavor, but a failed experiment, with some very good singer/actors,
quite cleanly directed by Rod Hipskind.
Rhonda Coullet, from the original Los Angeles cast of "Hair,"
then its Eoropean choreographer, and star of two Broadway musicals came
to "Beowolf" with me, and I think her comment tops my own:
RHONDA COULLETS
REVIEW
BEOWULF,
a new down for downtown. Mack the Knife meets Sweeney Todd meets Beowulf,
in the dark historical streets of violence put to music, but this composer
surrenders Weill and Sondheim sophistication and smarts to banal punk
melodies and lyrics. You either like nihilistic, repetitious, childish
punk jokes or you don't. If you do, welcome to an irritating but amusing,
well directed and performed, big band musical, and a very very hip reduction
of literature's oldest and most boring poem to an exercise in absurdity.
Richmond
Shepard-- Performing Arts INSIDER and
lively-arts.com.
THE TOXIC
AVENGER, book and lyrics by Joe DiPietro, music and lyrics by David Bryan,
is a dynamite little Rock Musical staged hilariously by director John
Rando and choreographer Wendy Seyb, and performed by superb, versatile
Broadway-level actor/singers: Nick Cordero in a sympathetic star turn
as Toxie, the amazing Nancy Opel in a duet with herself, Mathew Salvidar
and Demond Green spectacular in multiple roles and sexy Sara Chase as
Sarah, the sexy, blind, blonde heroine. With clever lyrics, catchy tunes
(like Evil is Hot), fabulous fast-change costumes by David
C. Woolard, great prosthetics by John Dods, on Beowolf Boritts brilliant
flexible set, THE TOXIC AVENGER, Good versus Evil (toxic waste in New
Jersey), with twists, turns, surprises, and super musical director Doug
Katsaross impeccable timing driving the music, is one of the most
entertaining shows in town. If you dont have a great time, Ill
give you a dollar.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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April 02nd,
2009
The current Broadway production of Noel Cowards antic comedy of
marital relations beyond the grave, BLITHE SPIRIT, directed by the master-of-timing
and comic business Michael Blakemore, with the brilliant, zany, powerful
actress/comedienne Angela Lansbury as the medium who connects with the
other world, is one of the most entertaining theatrical evenings
in town. For me, there is a flaw though. The fast-talking Rupert Everett
is tall, handsome, and sometimes incoherent, and Cowards wit is
blurred by the speed of some of his delivery and his dropping of final
consonants. As Alfred Lunt said: The secret of Acting is: say your
lines loud and clear, and dont bump into the furniture. I
guess Everett has done a few too many movies. Hes a contrast to
Jayne Atkinson, playing his wife, who is loud, clear and convincing. Christine
Ebersole as the ghost is a beautiful, effervescent star actress who lights
up the stage and the theatre.
And when Lansbury does a take, the whole theatre laughs
shes a master of the reality of a comic character. Its rare
to have two performers of this caliber of acting and comedy on a stage
at the same time, and its a delight. Plus theres a third:
Susan Louise OConnor as the maid is a great physical comedienne.
Both Simon Jones and Deborah Rush are just right as participants. Martin
Pakledinazs costumes, eccentric for Lansbury and properly misty
and floaty for Ebersole, are perfect, as is the set by Peter J. Davison,
lighting by Brian MacDevitt and sound design by Peter Fitzgerald. If you
dont want to see a sophisticated, stylized comedy of the highest
level, laugh and feel lifted by its amusements, dont go to BLITHE
SPIRIT. Coward is the wittiest of the witty, and if you miss Ms Lansburys
performance you do it at your peril. Shes a treasure.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
Dan Gordons
play IRENAS VOW, about a Polish Catholic woman who hid and saved
twelve Jews during World War Two, starring one of Broadways greatest
actresses, Tovah Feldshuh in a wonderful, heartbreaking, thrilling performance,
is a great history lesson, and, in part, a tough show for an old Jew to
watch. Its a ripper. But ultimately its totally uplifting,
and Feldshuh, with great craft, and even humor, hits her lines and moments
with great craft, skill and heart. The entire cast is excellent, and Thomas
Ryan as the German major is so good that every word, every look is totally
believable. I see nominations for him and for Feldshuh for best actress
and best supporting actor. Played on an imaginative set by Kevin Judge
with projections by Alex Koch, perfectly lighted by David Castaneda, with
just right costumes by Astrid Brucker, under the clear direction of Michael
Parva, IRENAS VOW is a great, warm, moving drama with superb
performances.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 31st,
2009
Eugene Ionescos EXIT THE KING, beautifully directed by Neil Armfield,
is a vivid example of Theatre of the Absurd. This production
is absurd from start to finish in all aspects: set and costumes by Dale
Ferguson, lighting by Damien Cooper, soundscape by Russell Goldsmith,
action by the splendid cast. Geoffrey Rush gives a tour-de-force turn
as the king, with great physical schtick, and presence that fills the
theatre. You cant compete with a tornado, so the strong, statuesque
Susan Sarandon stays cool, firm, and in that way is indeed a foil for
him. While Lauren Ambrose and the rest of the cast are excellent, it is
Andrea Martin, whose every word and action is the embodiment of Absurd,
who almost steals the show. The play itself is interesting the last
ninety minutes of an incompetent ruler, and the absurdist style gives
it highlights, tangents and surprises beyond the ordinary. Armfield and
Rush did the adaptation, and its super.
Richmond
Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 26th,
2009
WEST SIDE STORY is a dance show, and right from the opening number the
awesome acrobatic dancers performing Jerome Robbins brilliantly
spectacular choreography as reproduced by Joey McKneely is thrilling to
watch as played out on the marvelous, powerful set by James Youmans. Directed
by the author of the book, Arthur Laurents, this rendition of the musical,
with its Romeo and Juliet story and unforgettable music by Leonard Bernstein
with lyrics by Stephen Sondheim, still stands as one of the greatest shows
in Musical Theatre history. Two days later the melodies are still spinning
through my head. The lighting by Howell Binkley is magical, the dancing
exquisite. Costumes by David C. Woolard, except for what look like orange
Gap T-shirts on three of the white boys, are quite good, especially on
the PR dancing girls. Josefina Scaglione is a lovely, sensitive clear-voiced
Maria, George Akram is a sexy and convincing Bernardo, and Karen Olivo
as
Anita, the most dynamic person on the stage, steals the show with her
beauty, presence, voice, movement, verve and charisma. She a star. Not
so Matt Cavenaugh as Tony. Seems like a nice boy in the wrong play
without the dash, splash, panache, fire, strength of a Romeo who is supposed
to be the acknowledged leader of his pack. Sorry. Most of the rest of
the acting is poor lines recited amateurishly by the boys and the
plainclothes cop. But those boys can dance, jump, fight, fly superbly.
Also-- some of the speaking in Spanish is fine, but more English would
be more appropriate for an American audience who does not speak Spanish--
like me. A song like I feel Pretty needs at least one verse
in English. But I quibble, Sybyl. Its a great show, Laurents
punch line to each of the two acts is touching, moving, and all that it
should be, and the rendition now on Broadway is the only WEST SIDE STORY
in town. You have to see it--
its basically terrific.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
Yasmina Rezas
dramady GOD OF CARNAGE is the funniest farce seen on Broadway since Lend
Me A Tenor. Two couples meet to figure out what to do-- the son
of one couple hit the son of the other couple in the mouth with a stick.
Two great farceurs, Hope Davis, whose takes and reactions are subtle and
brilliantly hilarious, and Marcia Gay Harden, who can leap from gentility
to hyper-fury in a split second, fuel the conflict that develops, and
Jeff Daniels cell phone-obsessed manipulator is a gem. James Gandolfini
is perfect as the working-class slob of a husband. Rezas point/counterpoint,
contrasting allegro and andante, is theatrically amazing, and they dont
make better comedy directors than Matthew Warchus. The odd set by Mark
Thompson, with a wall of cracked concrete and a huge splash of red, somehow
works with and fits the underlying theme of the play: the inevitable changes
and conflicts inherent in marriage, and his costumes are
just right, perfectly suiting each character. Subtle lighting by Hugh
Vanstone enhances all, especially at the finale. GOD OF CARNAGE should
win for ensemble cast, for best comedy, and for outrageousness in one
(Never Before Seen On Broadway) scene by Hope Davis.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 24th,
2009
IMPRESSIONISM by Michael Jacobs, a romantic comedy now on Broadway, has
an all star cast in an interesting, but odd, and somewhat confusing play.
In this exploration of Art, coffee and broken relationships, the entire
cast is excellent, and both Jeremy Irons as a photographer and Joan Allen
as an art gallery owner are totally engaging, and Andre De Shields is
magnetic. His old man interpreting a painting is a gem, and should get
him a nomination. The confusion is in the flashbacks where Irons and Allen
play Allens parents, and the little girl with them is not defined
as the young Allen. It seemed at that moment that the young girl was the
child of Irons and Allens characters, which was puzzling.
There is another flashback scene in which Irons, with a Southern accent,
plays a former almost-lover of Allens. It would have clarified things
if this part had been played by one of the other men in the cast. Marsha
Mason does a turn as an Art
buyer, and shes terrific, and Irons AND Allen are exciting when
they cross verbal swords. The plays power is in the art works themselves,
which are brilliantly displayed throughout by designer Scott Pask with
projection design by Elaine J. McCarthy. Catherine Zubers costumes
and Natasha Katzs lighting design help lift the production itself,
directed by Jack OBrien, into the realm of Art. IMPRESSIONISM, which
could use a bit of tightening and clarification, is a still a show worth
seeing. As Joe E. Brown said to Jack Lemon: Nobodys perfect.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 23rd,
2009
GUYS AND DOLLS, one of the great musicals, with unforgettable songs by
Frank Loesser (they dont write songs like this for musicals anymore)
and a still snappy book by Jo Swerling and Abe Burrows, opens with super
style in an inventive set (by Robert Brill), spectacular costumes,(by
Paul Tazewell) super choreography (by Sergio Trujillo) and period tone
with a Mime show of New York gangsters and gamblers in action in the 1930s.
While the entire chorus of terrific singers and acrobatic dancers can
move dynamically to the innovative choreography, there are, for me, a
couple of flaws in the principal cast. While Craig Bierko as Sky Masterson
and Lauren Graham as
Adelaide are vibrant, Broadway-level performers, Oliver Platt as Nathan
Detroit lacks the edge the character needs, and Kate Jennings Grant, who
is very pretty and has a lovely, strong singing voice, lacks the undercurrent
of repressed sexuality the character should have in Act 1 that Masterson
will bring to fruition in Act 2. Mary Testa as The General just about
steals the show with her energy and verve. I love the theatricality of
the production (snappily directed by Des McAnuff), the great songs sung
well, the wonderful stage pictures where every nuance in action and costume
cooks-- its a great musical that the audience loved.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
In SOUTHERN
GOTHIC NOVEL, written and performed by Frank Blocker, he really captures
the caricatured essence of many Southern men and women in voice, posture
and attitude: a June Bug girl, her mother, a black lady, a Chinese woman,
and a redneck molester, and many more. Blocker has great vocal and physical
expressiveness, his creation of the imaginary objects around his characters
is clean and clear, and the show, a country melodrama, nicely directed
by Cheryl King, is an entertaining visit, filled with laughs, to a subculture
that is exotic and interesting to us citybillies. Wednesdays, Stage Left
Studio, 438 W. 37th, 212/838-2134, through June.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
Lissa Moiras surreal creation WHO MURDERED LOVE? Is a strange, Chandleresque
Film Noir musical filled with jokes, puns, and dreams in music and stylized
action. A little Fellini, a little Midsummer Nights Dream,
a DaDa extravaganza with elves, sprites, a detective (Nathan Wirmer),
his beautiful, sexy client (Jennifer Guest) and a secretary who loves
him (Anne Elyse Chambers). With strange costumes and masks, and a touch
of Kurt Weill in one song (music by co-writer Richard West), the story
brings us a seque (and a battle) from DaDa to Surrealism in Art, in dance
(innovative choreography by Mariana Bekerman), song and action. Its
all very strange fun with a good cast, including Olivia Gilbert and Nicky
Romaniello as young lovers. Moira, who wrote the book, lyrics, and directed,
is very odd, but quite entertaining in her faroutness. Its a Midwinters
Day Dream. Moira is a talented creator of the off-beat, with her
own
vision, and she creates a strange world that will take you on a trip
a fun one.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 17th,
2009
Want to see a show with smart writing, catchy melodies, wonderful performances
on a clever efficient set (by Adam Koch), with great costumes (by Alejo
Vietti) and two terrific performances, one of them a star? Check out ROOMSa
rock musical with music and lyrics by Paul Scott Goodman and book
by Goodman and Miriam Gordon now off Broadway. A reclusive, alcoholic
working class young man with shy charm (the excellent Doug Kreeger) meets
lively, ambitious middle class girl (the major star Leslie Kritzer) and
they collaborate on a singing career in the 70s. Director
Scott Schwartz and choreographer Matt Williams are brilliant, and Kritzer
practically bounces off the ceiling. Its the brightest, best staged,
best performed little musical in town, and the amazing punk number will
knock your socks off in all areas.
Richmond
Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 14th,
2009
Hey you want to see a perfectly directed (by Scott Alan Evans),
beautifully acted play written by a master who knew how to construct a
play in terms of content, dialogue and action better than almost any American
writer of the last hundred years? Dont miss Arthur Millers
brilliant 1964 play INCIDENT AT VICHY. Set in a detention room in southern
France as the Nazis are taking command and searching for Jews, men are
sitting and wondering in this dangerous situation, talking, and it is
one of the most exciting Theatrical experiences in town. What a cast!
Not a weak link they look the parts-- they ARE the parts they play.
Fascinating moral issues are explored in an examination of the psychology
of trapped people (and their trappers), some of whom accept the reality
of their fate (death) and some deny the possibility. The drab set by Scott
Bradley, giving hints of what is going on in the interior interrogation
room is exceptional, as is the
subtle lighting by Mary Louise Geiger, the perfect costumes by David Toser
and sound design by Jill BC du Boff. The play really explores the inner
nature, the sub-depths of humans under stress, the disparate reactions,
the core of their natures (with combinations of human and barbaric) ripped
open and revealed. Once again the best play-reading group in town, The
Actors Company Theatre, brings us a powerful, fully-realized production
of a masterpiece that is at the very top of the Theatre on view in our
city.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 13th,
2009
33 VARIATIONS, by Moisés Kaufman, is a play that explores why Beethoven,
at the height of his musical power, near the end of his life, chose to
write this many variations on a simple melody that he didnt like.
An intriguing idea. This play is a conglomerate of inconsistencies: Jane
Fonda is terrific as the scholar doing the investigating as she deteriorates
from Lou Gehrigs Disease, and her performance has great depth as
the character fights to finish her work before she dies. The center of
the play is the music itself, played beautifully by pianist Diane Walsh.
Sub plots abound-- the daughter (Samantha Mathis) is a constant nay-sayer
trying to get her mother to give up her final quest before she dies and
to take a rest instead. Booooo. Sub plot: the daughter meets a young man
(Colin Hanks, who is good looking, charming, and full of acting mannerisms
that undercut his performance). Should she or shouldnt she? She
wants to take care
of her mother. Its a bit awkward, and a bit clumsily performed.
Sub plot 2-- Beethoven appears (Zack Grenier in a performance that is
grating, overbearing, overacted and hammy), and he, too, has a nay-sayer:
his assistant (Erik Steele) who is concerned with paying the rent. These
sub plots are full of redundancies as simplistic arguments go nowhere,
but do repeat a lot as we wait for the music to begin again. Susan Kellermann
is excellent as a Beethoven scholar who befriends Fonda. The production
is GREAT: vital imaginative set by Derek McLane with corresponding lighting
by David Lander and appropriate costumes by Janice Pytel, all directed
by the author who stages well but could use help with some of the acting.
Near the end, there is a short scene where Beethoven talks us through
his process as a variation is played a big mistake in writing and
directing as the contrast between the artistry of the music and the banality
of the comments
almost destroys the moment. So the play, which does have a good basic
idea and dramatic thrust as fascinating analysis of the variations is
expressed, and a few good jokes, is flawed with too much plot, but has
a lovely Minuet ending, and Fonda is a charming charismatic star, and
youll want to see her. The initial question of why Beethoven did
it is, to me, who has spent his entire life as an artist, quite simple:
He knew how good he was-- how dare they ask him to write a variation on
trivia? Oh yeah? Bach wrote 32 Goldberg Variations-- Ill do 33,
and make the whole thing a masterwork. And he did. Youll hear it
as Walsh plays.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 06th,
2009
ARISTOCRATS by Brian Friel at the Irish Rep. Is an odd dish to swallow.
It starts with long exposition by a family in a crumbling large manor
house in Donegal, Ireland, as they talk legend and perhaps some fact to
an American who is writing a piece about Irish past and personalities
while intrusive piano music dampens comprehension. As it goes on we see
the play is a view of Irish Aristocrats as very ordinary and
not very interesting people. A couple of possibilities for action are
not pursued. At intermission I asked several people what they thought
the play is about. All were puzzled. By the end I realized that it was
about the deterioration of a dysfunctional family in the 1970s whose
circumstances matched the crumbling of the physical old house. The hints
at pre and post play relationships do keep us involved with these bent,
complex personalities. The acting, as usual with this theatre company,
is excellent, the staging by
Charlotte Moore beautifully utilizes the space, and the fine set by James
Morgan gives an authentic flavor to the production.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
Lorenzo Pisoni was stunning as the major horse in the recent production
of Equus. Now Manhattan Theatre Club is presenting him in
his one-man show HUMOR ABUSE his life as a clown, starting at age
3, with his father in the Pickle Family Circus. So for over thirty years
this superb performer has been honing and perfecting his circus skills,
which he tells us about and shows us in this captivating, marvelous show.
He is handsome, charming, and his warm, unpretentious performance is dazzling
in its complexity and his mastery of the genre. Co-created with, and directed
by, Erica Schmidt, Pisoni gently reveals a lifetime of clown-infusion
so that whatever he does, juggling, balancing, acrobatics, hat schtick,
takes and double takes, and much more, has the ease of virtuosity. They
dont make better than this. Go see it-- if you dont agree
with me Ill give you a dollar.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 03rd,
2009
Heres the setup for THE SAVANNAH DISPUTATION by Evan Smith at Playwrights
Horizons: two sisters, one acerbic (Dana Ivey), one simple, sweet and
quirky (Marylouise Burke), both Catholic, are visited by a young, spunky
Born Again Christian (Kellie Overbey) who wants to convert them. The sisters
invite her and their priest (Reed Birney) to dinner. What follows is a
smart, insightful play a funny, and ultimately moving, battle with
great theological arguments and contrapuntal bible references performed
by four dynamite actors on John Lee Beattys fine set, with appropriate
costumes by David C. Woolard, who is smart enough not to put the priest
in a white clerical collar-- just a sportshirt. What a pleasure to be
at a play with ideas. To me, the basic subtext is the destruction of peoples
souls (by countering their basic human empathy) by the dogma and sectarianism
of religions and their narrow boundaries. And the play also shows the
basic
sincerity that well-meaning people have in the security they find in the
doctrines of their religions. It was so engrossing that I wanted to come
back the next night to continue the disputation, even though it was clear
that solid boulders cannot be moved by wind. To quote from my own book
HYPHEN: A Spiritual Adventure Between Two Dates: Anyone
who thinks HIS way is the ONLY way hasnt found The Way.
THE SAVANNAH DISPUTATION is terrific Theatre for anyone who likes to cross
intellectual/spiritual swords (or be present at such a skirmish).
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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March 02nd,
2009
I took another look at Tracy Letts powerful award-winning play AUGUST:
OSAGE COUNTY to experience this years cast with Estelle Parsons
now playing the mother. It is still a shattering three and a half hour
piece of rural drama. The intricate family melodies in contrapuntal dysfunctional
clashings at this family get-together in Oklahoma, is a wonderfully directed
(by Anna D. Shapiro) slice of twisted life with a super ensemble cast.
This play, with this cast, with the powerful Johanna Day as the central
protagonist and Parsons, one of the most riveting actress youll
ever see, is still the best straight play in New York at this time. The
play is long, but the evening is not-- both the writing and the acting
will hold you.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
COMING APHRODITE!, a musical adaptation of Willa Cathers novella,
written and directed by Mary Fulham, with music by Mark Ettinger and lyrics
by Paul Foglino, is a charming musical about a handsome young artist (Greg
Henits), his neighbor, an aspiring actress/dancer (Liz Kimball), his dog
(Clayton Dean Smith), and a landlady (Anne Gaynor- a terrific singer who
also plays a sexy performer). This is an engaging, high-level show in
all aspects, with sweet, enjoyable songs, marvelous projections, art work
and puppetry (by Spica Wobbe), terrific costumes, including a fabulous
fat suit, (by Ramona Ponce), and four accomplished performers. To see
the supple, graceful Kimball stretch, nude, as a shadow behind a screen,
made my week (choreography by Heidi Latsky). Smith gives good dog. His
personification of the dog is inventive, subtle, tasteful. It is all imaginatively
directed by Fulham, on a good stylized set by Jim Boutin with fine lighting
by Alex Bartenieff. This lovely little show deserves a big hug and a long
New York run. Its at La MaMa through March 8th.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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February
28th, 2009
The York Theatres production of ENTER LAUGHING, the musical based
on Carl Reiners book, with book by Joseph Stein and songs by Stan
Daniels, is a delightful romp a simple old fashioned romantic comedy,
beautifully staged by Stuart Ross, acted with great charm by a super cast
of actor/farceurs, with terrific choreography giving us the funniest physical
comedy now on stage in New York next to The 39 Steps. Terrific
set by James Morgan, great costumes by David Toser, and lighting by Chris
Robinson, all lift the proceedings. The show has some of the funniest
songs I have ever heard clever lyrics and lively melodies, and the
leading man, Josh Grisetti, is a comic star-- and when matched with the
matchless Bob Dishi, its comedy at its highest level. This is a
wonderfully entertaining production that deserves a long life on Broadway,
and hopefully someone will agree with me.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
BECKY SHAW
by Gina Gionfriddo opens with a most irritating, fast-talking performance
by David Wilson Barnes in a grating exhibition of repulsiveness as tedious
reminiscences are shared with his faux sister with nothing happening,
and the word fuck used as an adjective every other paragraph.
I found the play to be annoying and boring, like a bad sit-com, but stayed
to see what it might become in the second act. It got a bit bettera
try for relevance-- with a psychological examination of racism, and a
little melodrama, robbery and sex, and a few good aphorisms. Annie Parisse,
as the title character, brings life to what initially seems to be a pretty
moron, but turns out to be, perhaps, clever. Parisse is a good actress
in a bad soap, the rest of the cast are all quite good, except that Barnes
remains the major repellent Ive ever seen on a stage. I would blame
director Peter DuBois for the excesses in this performance. And the fucks
get thicker-- perhaps a feeble thrust at naturalism by the author. Derek
McLanes active set is excellent, as are costumes by Jeff Mahshie
and lighting by David Weiner. Obviously, this wasnt my cup of Theatre.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
The Mint
Theater gives us a beautifully executed production of a gem by D.H. Lawrence:
THE WIDOWING OF MRS. HOLROYD. The play is quite elemental: an abusive
husband, a lonely wife, a lonely neighborhood man who is gentle. Its
the classic D.H. Lawrence triangle. The tensions of love and conflict
are beautifully staged by director Stuart Howard, and a fight scene is
masterfully choreographed by Michael G. Chin. The entire cast is excellent,
and Julia Coffey as the protagonist is splendid a towering performance
without a moment that isnt believable. The set by Marion Williams
and the lighting by Jeff Nellis, evoking the reality of a home in a mining
town a hundred years ago, are merely superb. The subtly-changing atmosphere
is entrancing. About the accent: apparently D.H. wrote it in dialect,
but lets face it its not necessary. I couldnt
understand a word the two children in the play said, and early on I had
to strain my ears
a bit to pick up some of what people said (not Ms Coffey). The timing
of the entire production, to me, is just right, except for the final scene
which went past empathy into a bit of impatience as it finally dimmed
out. All in all, a good evening of theatre by a first rate writer performed
by a first rate company.
Richmond Shepard-- Performing Arts INSIDER and
lively-arts.com.
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