The best show currently playing in New York is the Joel Grey/George Wolfe directed revival of Larry Kramer's "The Normal Heart," a fact which greatly surprised me. I have seen several prior productions of this play (most recently the Public Theater's revival a few years ago starring Raul Esparza), and Kramer's play never moved me in the past. I thought this play was too polemic to engage the viewers' emotions, something that is critical for great theater to do. But this production proves wrong my prior dismissal of this play. By the end of this show, I was moved in a way that few shows have ever moved me. I attribute this to two primary factors. First, there is outstanding staging and direction that I can only attribute to George Wolfe, as the staging bears his unmistakable style. Second, the cast is pitch perfect, with the most critical lead role of Ned Weeks played by Joe Montello, whose vulnerable and sensitive acting allows the production to transcend the limitations of the written work.
Montello made me feel for his character by showing the insecure but well meaning man behind the angry mask. The whole cast is outstanding, but Montello's performance is the linchpin that holds the show together. When this revival was first announced, my initial reaction was that I had no interest in seeing what I felt was this flawed work again. Boy was I wrong. Here is the proof that the right director and cast can bring out the music in a work that one does not hear when other hands are in charge. "The Normal Heart" is only scheduled to play through July 10; do not miss this if you are in New York before then, assuming you like serious and moving dramas.
Another limited run well worth catching before it leaves the country is London's Donmar Warehouse production of "King Lear" starring the terrific Derek Jacobi in the title role. Once again the production (the work of director Michael Grandage) is outstanding, and the cast, except for a role or two, is great. But what makes this a "do not miss, Lear for the ages" is Jacobi's performance. Here is a true master at work.
Speaking of Shakespeare, an experiential theater riff on Macbeth entitled "Sleep No More" is being performed by London's Punchdrunk theater troupe at a multilevel building in Chelsea, and everything about this show made me anxious in advance. I don't generally like theater that breaks through the fourth wall, and theater that requires one, along with many fellow audience members, to run after performers (running upstairs, and downstairs, then back again ad nauseum) to catch a scene sounded dreadful to me in concept. But my anxiety was unnecessary, for once I ignored my inner voice telling me that I did not wish to be at the show at the outset, I found "Sleep No More" to be an engaging piece of art, expertly combining visuals, music and choreography right before my very eyes. To be sure, the show is bizarre beyond words, but it is bizarre in a unique and good way. Word of warning however, if you are not prepared to run around multiple floors and stair levels of a large building, this show is not for you. And if you do go, wear comfortable shoes.
A few brief thoughts on several other shows I saw on a recent visit to New York: Carey Mulligan's searing performance of a young woman suffering from what appears to be bipolar disorder is THE reason to see off-Broadway's "Through A Glass Darkly". In much the same way, the outstanding Sutton Foster makes Reno Sweeney her own and is THE reason to see the Broadway revival of the terribly dated musical "Anything Goes".
I was very surprised at how much I liked Broadway's "Mother****** With The Hat," which I found to be very funny and quite engaging. Bobby Cannavale is particularly great in the lead role.
Given that I disliked it in a prior incarnation in Pasadena, I was also surprised at ultimately liking "Sister Act" on Broadway. Don't get me wrong, the show is still flawed in many ways, and the second act is far superior to the first, but by the end I gave in to the fun emanating from the stage. I did not expect that would happen.
Another London import, "Jerusalem" was somewhat of a disappointment, given the rave reviews that the show found in London, but it is well worth seeing for Mark Rylance's wonderful performance in the lead role. Finally, there are not many nice things I can say about the "How To Succeed" revival starring Daniel Radcliff, other than Radcliff is working very hard, the sets are great (although they box in the action and dancing unnecessarily), and John Laraquette takes a one-note role and makes it multi-faceted and funny.
Overall, there are a good number of truly amazing acting performances to catch on stage in New York right now. Those that are especially worthy are being given by Joe Montello in "Normal Heart," Derek Jacobi in "Lear" at BAM, Sutton Foster in " Anything Goes," Bobby Cannavale in "Mother* w/ Hat," Carey Mulligan in "Through A Glass Darkly" and Mark Rylance in "Jerusalem". All of these performances are of the highest caliber and are worth catching on stage.
