HERE is the new site LINK.
HERE is the new site LINK.
When you walk into 59E59 Theater B, for Don’t You F**king Say a Word, it’s obvious we are entering a stage of battle. Sure, it’s a tennis court, but it is also a pit – more like an ancient Roman Arena that the city park. So it is a little disconcerting that the first entrants aren’t the tennis players, but the women in their lives, dressed in distinctly non-athletic ware. And thus Don’t You F**king Say a Word starts off with the audience a little off balance.
The amazingly talented actresses Jennifer Lim and Jeanine Serralles are a marvel as the female life partners of the tennis players. They start by laying out the organization of the play for us. These two women are reminiscing, with each other and the audience, about an incident that occurred between their tennis-obsessed men. They are trying to understand what happened that humid day that set off a chain of events that ended a friendship. In doing this, they are trying to “understand men”, what drives them –particularly what drives the impulses that make them crazy. Of course (and a little too obviously), their “investigation” tells us more about their interactions and insecurities than their spouses. But that is a pretty minor problem overall.
They women are coyly polite and gracious, but underneath there is a competitive edge they can’t quite shake. They try to openly discuss “the incident”, but they also are protective of their partners, viewing the history through the lens of love and life choices.
The tennis players are Bhavesh Patel and Michael Braun; men who are approaching their forties having accomplished almost none of their goals. Both are highly competent actors, but don’t get a chance to move beyond caricature until very late in the show. They are a type most men know. Growing up, they were probably intimidated in school and so they have overcompensated via sports after high school.
And just when the show gets to be too much, too pat and too expository – the action moves towards a more traditional setting, a dinner party. With this change, Don’t You F**king Say A Word shines anew. It is a very enjoyable evening of theater.
Writer Andy Bragen and Director Lee Sunday Evans have done a great job wringing out the most from their characters and situations before moving on and changing up the pace of the piece. Because of their excellent work, it really does play like a tennis match, a long give and take capped by a quick and eventful tie-breaker.
Don’t You F**king Say a Word | Playwright: Andy Bragen | Director: Lee Sunday Evans | Cast: Michael Braun, Jennifer Lim, Bhavesh Patel, Jeanine Serralles
Let’s start off with the biggest question, how were all those stars in The Front Page? The answer is they were great. John Goodman had some laryngitis when I saw it, but otherwise he and the rest of the cast were fantastic. John Slattery is charming, stylish and comedic. Nathan Lane is wonderful, despite not appearing until well into the play. Holland Taylor, John Goodman, Jefferson Mays and Robert Morse are as funny and as good as you expect them to be. Sheri Rene Scott gives a wonderful turn as Mollie Malloy.
So then, why does The Front Page never feel like a great show? First, it is entirely too long. The news hounds are made up of a stable of excellent actors that would headline most other shows, but giving nearly the whole first act to them is not the best use of time. Second, The Front Page is dated, very dated. I suppose you could update it, but that wouldn’t work well in today’s vernacular since the newspaper business isn’t much of a business at all anymore. So be prepared for tasteless jokes about women, effeminate men and colored people.
And yet, on some level, both of these problems feel like choices, since the definitive The Front Page movie (titled His Girl Friday), with Cary Grant and Rosalind Russell resolved these issues with judicious pruning of the story.
Other than that, how was the theater, Mrs. Lincoln? Pretty good actually. The set (by Douglas W. Schmidt) is fantastic, giving a large stage a slightly claustrophobic attitude. Filling it in Act One are an impressive array of newsmen acting bored and annoyed as they await news on the imminent hanging of Earl Williams – who’s being railroaded into execution to help reelect the crooked Mayor and Sheriff (Dann Florek and John Goodman). Jefferson Mays is the mincing, neurotic germaphobe (and general gay butt of jokes) who has his own desk, phone and is perpetually put out. He does a fine job with a thankless role. Late entering into the Act are John Slattery as Hildy Johnson, a newsman who is retiring to marry the girl of his dreams and move to New York, Holland Taylor as the annoying mother-in-law to be and Sheri Rene Scott as the Irish hooker with a heart of gold, who berates the news hounds for their lewd comments on her friendship.
In Act Two, Earl Williams escapes, Hildy catches him and hides him in the desk as the other newsmen look for Earl. Plus there is a lot of yelling and running around business.
In Act Three Nathan Lane shows up as Hildy’s boss, Walter Burns, to help Hildy sneak Earl out of the newsroom. The show finally comes to life when Nathan Lane and John Slattery are on stage together. Theirs is a reluctant, but enduring bro-mance, which neither dames nor mother-in-laws nor better jobs will break up. But two full acts makes for a long time to wait for the show to hit its stride.
Jack O’Brian does a fine job of directing The Front Page. He gets excellent performances out of all the players, but at nearly 3 hours, it is a bit of a slog. He might have been kinder to the audience to take a judicious knife to the show.
The Front Page | Playwrights: Ben Hecht, Charles MacArthur | Director: Jack O’Brian | Cast: Nathan Lane, John Slattery, John Goodman, Jefferson Mays, Holland Taylor, Sheri Rene Scott, Robert Morse
Top Photo credit: Vanity Fair
The New York premiere of Joe Sutton’s Orwell In America is a fascinating exercise and a wonderful show. The play is a what-would-happen piece set between the success of Animal Farm and before the publication of 1984. In the show, an older George Orwell is on a book tour of the United States to promote Animal Farm, with an attractive young publicist, Carlotta. The question is how would Orwell’s well-documented socialism be received in 1950s America.
Jamie Horton brings a cantankerous, funny and stubborn Orwell to life. He has agreed to promote Animal Farm, completely understanding that his book has been used to argue against some of his most prized beliefs – chief among them Socialism. He insists on speaking of his background, his travels, his wife and the Spanish Civil War before getting to the point of the evening, selling books.
Jeanna de Waal plays Carlotta expertly. Carlotta is a proto-feminist, demanding to be accepted as a professional as well as a woman in a man’s world. Carlotta is determined to share her love of George Orwell’s books with as many people as possible, and that means trying to inhibit his fanciful musings and active support for Socialism.
The show might have easily fallen into a pattern of George’ soliloquies, interrupted by Carlotta’s questions only to break them up – because George’s soliloquies are fascinating to a modern audience. George gives amazing examples of Europe’s suffering in a post-war environment and relates that to his believe in the common good and therefore Socialism. Carlotta, for her part, tries – in vain – to get George to understand that in the Cold War environment in the States, Socialism is tantamount to Communism. This frustrates George Orwell to the point of distraction. He believes Communism, particularly as practiced by Russia and Stalin, is horrible and something to be fought against. The fact that Americans equate the two systems infuriates him.
All of this information and expository makes Orwell In America interesting, but what makes this show wonderful is the dynamic between the much older George Orwell and the much younger and beautiful Carlotta. It is in this personal dynamic that Ms. de Waal and Mr. Horton make the characters sing. Their banter is heartfelt and their growing friendship (and Orwell’s desire for more) blooms organically.
Masterful lighting design by Stuart Duke is coupled with great direction by Peter Hackett to effortless segue from personal interaction to public book signings. I was a bit apprehensive at the running time of 1¾ hours, but the show neve3r feels forced or leaden. I loved it.
Orwell In America | Playwright: Joe Sutton | Director: Peter Hackett | Cast: Jeanna de Waal, Jamie Horton, Casey Predovic | website
It is a cliché to say that home is a memory, but in Primary Stages revival of The Roads To Home by Horton Foote, it is the guiding principal. Beautifully brought to life by three outstanding women – the men are very good, but given much less to do – the play speaks of a longing of the memory of home, regardless of the reality.
Perhaps this show touched me because I am from Los Angeles, and the memory of home always makes me smile – more that actually moving back ever would. The Roads To Home takes that wistful feeling and enlarges it to a universal experience. The theme brings a smile and wonder to this melodramatic show.
Hallie Foote, the playwright’s daughter, plays Mabel a mainly contented housewife in 1920s era Houston. The play opens with Mabel’s neighbor Vonnie dropping in and describing telling her vacation to her own family in Louisiana. Harriet Harris inhabits the character of Vonnie spectacularly. To watch these two older ladies visit and gossip is as comforting as watching your grandmother and her friends. It is a pleasant pace of gossip, neighbor chitchat and reminisces of hometowns. Mabel does explain that one neighbor from her old hometown, Annie, has begun to ride the streetcar and visit her daily. Too often for her husband, who is annoyed to find Annie occupying his home nearly every night. Mabel fills in the backstory of Annie which includes the tragic witnessing of her father being shot on main street.
Annie does eventually arrive and she is a bit eccentric. Rebecca Brookshire plays Annie with just enough edge to make her occasionally unnerving and with just enough sweetness to make us care about her. Annie is a gentle soul, lost in Houston and her own memory.
All three women later have issues with their husbands and their own marriages – their personal homes. The time didn’t allow for a lot of options for women in difficult marriages, and watching these three women try to navigate their personal life is both engaging and a bit heartbreaking.
The Roads To Home is a short piece, and played out leisurely, given full time to take root in the audience. I enjoyed it, even though I was a bit annoyed at the end while I watched it. In retrospect, I appreciate it much more. The scenic design by Jeff Cowie and the costume design by David Woolard really brought the era to life. Michael Wilson did an excellent job with the direction and pace of the piece. This is part of the Horton Foote Centennial (he was born in 1916) and is a great addition to his cannon.
The Roads to Home | Playwright: Horton Foote | Director: Michael Wilson | Cast: Devon Abner, Dan Bittner, Rebecca Brooksher, Harriet Harris, Hallie Foote, Mall Sullivan
The Underground Railroad Game is a childhood memory revisited through the lens of race, sexual attraction, humor and taboos. Created, written and performed by two amazing talents, this show works beautifully to exam almost everything about race, love and sex, which we try to ignore.
Jennifer Kidwell and Scott Sheppard play two teachers, guiding their elementary school through an exercise about the Civil War. The audience is the class, but the audience participation is minimal. The two teachers describe the Underground Railroad Game, where the students are divided up into Union and Confederate Teams. The Union’s team’s goal is to transport slave dolls from one class’ “safehouse” to another, the Confederate’s team tries to catch them.
Right from the start of the play, the piece is a little disconcerting. To turn the Civil War into a hide and seek game with dolls standing in for slaves is uncomfortable. And the show dials up the discomfort level from there. Outside school, the teachers are attracted to each other and begin the tenuous process of dating between races. Their dating process reaches across pitfalls and mistakes with warmth and jokes – jokes that sometimes work and sometimes fall flat.
Underground Railroad Game then gives us snippets from the classroom, dates and the bedroom, mixed and folding in on one another. The two leads’ attraction and game playing takes them to deep emotional and sexual areas, often getting surprisingly out of control for each.
It took a while for the cynical part of me to warm to this show. It is a little too earnest in places and tries too hard to be edgy. But halfway through the fast paced show (90 minutes with no intermission) I was hooked. Ms. Kidwell and Mr. Sheppard are excellent in the roles, but even more than that, they are fearless. They walk right up to the edge of what people are comfortable with and then jump across, believing we have the guts to follow them.
The stagecraft is well done, with the Lighting Design by Oona Curley particularly effective. Director Taibi Magar keeps the play moving forward, but gives it plenty of room to breath and grow. By the end of the Underground Railroad Game, I wasn’t positive what I saw, but I knew I remember it for a long time.
Underground Railroad Game | Created: Jennifer Kidwell, Scott Sheppard, Lighting Rod Special | Director: Taibi Magar | Cast: Jennifer Kidwell, Scott Shepard
I did fine with Lin Manuel Miranda – author of Hamilton. I wanted to meet him and Eddie introduced me. He was charming and very pleasant. I didn’t say anything too stupid of effusive. You would have all been proud.
On the other hand, I met Michael Cristofer from Mr. Robot (head of Evil Corp). We spoke for quite a while, as he was fascinating.
He indulged me as we discussed the show, his role, how the writer director shot the entire series more in a movie format than episodic (Sam Esmail shot it all at once in each location to save time and allow him to write and direct it all). I will tell you he was fascinating – and yes, I did ask for a picture like a nerd.
During our talk he said he was writing a new play in Chicago. It is based on an old boxer that actually killed a man (accidently) in the ring. Emile Griffith was gay and went in and out of the closet many times – never found peace. Mr. Cristofer had written the libretto for an Opera based on his life a few years ago, and is writing / directing a play about the story now. ( note: I looked it up. It is called Man In The Ring and is running in Chicago Sept 15th to Oct 16.)
Suddenly, I remembered the write up of the Opera (Champion) in the New York Times a year or so ago. And then I realized that Mr. Cristofer was much more a renaissance man than I knew. We left and I immediately looked his work up.
Ah – yes. He is a like a superstar. Pulitzer Prize and a Tony for writing The Shadow Box! American Theater Award for Best American Play for Amazing Grace. He won a Director’s Guild Award for Gia. A Golden Globe for screen writing.
I (and Eddie) went back over and spoke to him again later – how could one not – and he was more humble, polite and charming than such an accomplished man has any right to be. I am listing his imdb bio because I was so freaking impressed. I loved talking to him and totally fan-boy’ed out after that. No one else impressed me so much in the box (including Kevin Spacey or Damien Lewis).
Michael Cristofer was awarded a Pulitzer Prize and an Antoinette Perry “Tony” Award for the Broadway production of his play, The Shadow Box. Other plays include Breaking Up (Primary Stages), ICE, (Manhattan Theatre Club); Black Angel, (Circle Repertory Company); The Lady and the Clarinet starring Stockard Channing, and Amazing Grace starring Marsha Mason which received the American Theater Critics Award for best American play. Mr. Cristofer’s film work includes the screenplays for The Shadow Box directed by Paul Newman (Golden Globe Award, Emmy nomination), Falling In Love, with Meryl Streep and Robert DeNiro, The Witches of Eastwick with Jack Nicholson, The Bonfire of the Vanities directed by Brian DePalma,, Breaking Up starring Russell Crowe and Salma Hayek, Georgia O’Keeffe (Writers Guild Award) with Joan Allen and Jeremy Irons and Casanova starring Heath Ledger. His directing credits include Gia, for HBO Pictures starring Angelina Jolie, Mercedes Ruehl and Faye Dunaway which was nominated for 5 Emmies and for which he won a Director’s Guild Award. He next directed Body Shots for New Line Cinema and Original Sin starring Antonio Banderas. For eight years he worked as co-artistic director of River Arts Repertory in Woodstock, N.Y., where he wrote stage adaptations of the films Love Me Or Leave Me and the legendary Casablanca, directed Joanne Woodward in his own adaptation of Ibsen’s Ghosts and produced the American premier of Edward Albee’s Three Tall Women – a production which later moved to Off-Broadway. His most recent works for the theater are in workshop at the Actor’s Studio where he is a member. After a fifteen year hiatus, Mr. Cristofer has returned to his acting career appearing in Romeo and Juliet (NY Shakespeare Festival), Trumpery by Peter Parnell, Three Sisters (Williamstown Theater), Body of Water with Christine Lahti, and the acclaimed Broadway revival of A View from the Bridge with Liev Schreiber and Scarlett Johansson. He appeared as the infamous Truxton Spangler in the AMC series Rubicon and in The Other Woman with Natalie Portman. He created the role of Gus in Tony Kushner’s The Intelligent Homosexual… at the Public Theater and starred in Stephen Belber’s Don’t Go Gentle at MCC Theater. He was recently seen in the NBC series, Smash, American Horror Story and Showtime’s Ray Donovan.
About Clarence & Me, premiering now at the Theater for New City’s Dream Up Festival, is a hopeful and light show about reaching across barriers that divide us in order to make connections. Clarence is an older black man who wants to take piano lessons in order to learn how to play a little better. Wonderfully played by DeMone, Clarence is a self-effacing, but proud man with a huge personality and warm demeanor. The young white piano teacher, Sam, initially struggles with how to engage and motivate Clarence. As Sam, actor Max Roll does an excellent job of navigating the minefield of expectations and social misunderstandings that could derail the enterprise. But it is Clarence that ultimately sets the standards and conditions of the relationship. Clarence is warm and accommodating with the patience and experience that age can bring in the best of us.
About Clarence & Me covers 8 years of their relationship, as the men come to a mutual respect for each other. They bond first over music, later becoming friends although their interaction is limited to their lesson time. AS you would expect, a lot of life happens in eight years to these two.
Full of original as well a s familiar music, About Clarence & Me is a feast for piano music lovers. The training isn’t the focus, and occasionally Clarence or Sam will break into a beautiful piece of music, and the transformation that overcomes them is magical.
The spoken dialog flows less easily than the music. While Clarence’s voice seems real, Sam’s dialog occasionally ventures into the stilted. In part, this is because the character doesn’t want to cause accidental offense. At other times, the character is forced to impart “big ideas” that don’t flow.
But that is a minor complaint in the scale of the show. Two men had a hand in writing the show, Scott Hiltzik, who also composed the original music and Walter Jones who also directs. About Clarence & Me is as breezy and lovely a jazz piece.
About Clarence & Me | Playwrights: Scott Hiltzik & Walter Jones | Composer: Scott Hiltzik |Director: Walter Jones | Cast: DeMone, Max Roll
If you are like me, you mainly know Jack London from his nature fiction, like The Call of The Wild or White Fang. The Iron Heel, playing in various venues in New York City (link) introduces us to a side of Jack London, which is overlooked. Jack London was a socialist and active in the party at the beginning of the 1900s. The Iron Heel is a work of future fiction he wrote in 1908. It deals less with science and technological change than with social change, and the promise of a socialist system of government that he was sure would come about.
In adapting the work for the stage, Edward Einhorn (also the director) pulls the social and economic threads out of the story and focuses on those. It is the story of a socialist hero, as told through the found autobiography of his wife. The hero, Ernest Everhard, is played by Charles Ouda, a Kenyan born actor whose obvious difference in race and dialect mimics Ernest’s difference in class. Ernest was of the working class, and in The Iron Heel he rebels against the Capitalist class in general, the oligarchs and plutocracy in particular.
Ernest’s wife, well played by Victoria Rulle, was born into the Capitalist class but Ernest brings her and her social circle to the revolutionary cause. He does this by way of an explanation of fairness and social responsability. It is a story that foretells of a class work between the owners of production and the laborers. Written before the World Wars and introduction of communism, it is an optimistic look at a future socialist nirvana, albeit one that takes 300 years of struggle to attain.
To flesh out the story (and to bring the audience along), the show also includes a number of period socialist / unionist songs from the time period. It is a surprisingly effective means to sweep us up into the moment.
The Iron Heel is presented as a reenactment of the autobiography, quite far in a future; a future which we know does not come about. This would be a rather dry piece if it were not for the parallels between London’s time and ours. The struggles are a bit different, but the Jack London predicted the rise of the 1%. The echoes of that era are too strong for anyone to miss.
The Iron Heel is a fascinating story – not always captivating, but always interesting. And I was impressed by how moved much of the audience was – old lefties and younger millennials finding a common bond in a story and songs over 100 years old. It is a fun night.
The Iron Heel | Writer: Jack London / Adapter: Edward Einhorn | Director: Edward Einhorn | Cast: Craig Anderson, Kevin Argus, Charles J. Ouda, Yvonne Roen, Victoria Rulle, Trav SD | website
A Strange Country, now playing at the Access Theater on the border of Chinatown and Tribeca, packs a punch. It is unusually powerful because it veers into territory both familiar and unexpected. As a piece of theater, it often signposts where it is going, but it gets there in unique ways. And that is high praise.
The scene opens with Darryl (embodied by Sidney Williams) sleeping it off in an old stained BarcaLounger. As he wakes up and shuffles to the couch, it is obvious Darryl in old and stained as well – in ways we will learn. The room (ugly / beautiful set design by Brian Dudkiewicz) is American lower class, circa Texas. The play is then set in not exactly a foreign country, but a strange country, at least for most of us.
Darryl is pulled from sleep by his sister, Tiffany (newcomer Vanessa Vaché – holding her own against these more experienced actors) and Tiffany’s girlfriend Jamie (Bethany Geraghy). Tiffany has come to roust Darryl and take him home for a re-commitment ceremony of their parents. This leads to some great scenes between the three – if a little too Sam Shepardesque. Darryl and his father are violently estranged. Little sister Tiffany plays a rough edged “mom” to the entire family, inserting herself to just bring some peace for the day.
Various excuses leave them coupled into changing pairs as A Strange Country drives us through the past of these characters. Jamie is a recovering alcoholic; Darryl is an unrepentant alcoholic who medicates his bi-polar issues with prescriptions. Tiffany’s addiction tends towards family and support, with a healthy dose of drama. And the only way to get Tiffany to leave him alone, is for Darryl to betray her.
Sidney Williams and Bethany Geraghy bring some amazing life to the characters of Darryl and Jamie as they ultimately find strength and express it passively, a difficult thing to do well on stage.
Written by Anne Adams, A Strange Country leaves a lot of loose ends lying around. There are echoes and flashes of bits that might have been cut from a longer play, but she and director Jay Stull have distilled this to the essence of the characters. It is a hell of a ride.
Playwright: Anne Adams | Director: Jay Stull | Cast: Bethany Geraghy, Vanessa Vaché, Sidney Williams | Website