If, like me, you see a great deal of theater, you inevitably end up sitting through a good amount of bad theater. Sometimes you go through periods where most of the shows you see are so bad or mediocre that you wonder if it may be time to take a break from theater-going. Then along comes a show or two that are so novel, creative and engaging that they take your breath away and reinvigorate your love of theater. Within the last week I had the pleasure of seeing two such shows, both off-Broadway, in New York.
The first was the recently opened film to stage musical adaptation of the engaging small-budget indie film
"Once," which is playing through mid-January at the New York Theater Workshop in the East Village. On virtually all accounts, this show should not succeed. The film was quiet, subtle and small - not typical attributes for a stage musical. The film's songs which are duplicated (albeit in enhanced form) in the stage show are not inherently theatrical in form. Furthermore, the film worked so well because the two lead actors portrayed a story on screen that had autobiographical roots in their prior off-screen romance, but neither are in the stage cast. The magic of "Once" on stage is that notwithstanding these seeming hurdles, the hugely talented creative team (Irish playwright Edna Walsh as book writer, JohnTiffany as director, Steven Hoggett on "movement," Natasha Katz on lighting and Bob Crowley on sets and costumes) combine with a dream cast of actor/singer/musicians to create nothing short of a perfect musical.
All of the action takes place on Irish pub themed set, with other locations creatively depicted with very simple set pieces and precise lighting. What makes "Once" groundbreaking is that the central theme of the love of music creation is rendered in such a beautiful and engaging way by actors who play their own instruments, that no musical I have seen prior to this has made me feel as "one" with the music being played on stage. All of the show's exceptional elements combine to create this environmentally engaging and moving experience. The cast is exceptional to a person, but the two main actors, Steve Kazee and Crisitn Milioti deserve special kudos for their incredible on stage chemistry and pitch-perfect performances.
Until I saw "Once," I thought that I would end the year 2011 without having the pleasure of seeing one great new musical in the course of the year. That belief was shattered as I sat in the audience and let the magical musical spell that "Once" weaves wash over me in the first 5 minutes of the show, and sustain itself for the ensuing 150 minutes that comprise the show.
On opening night, the "Once" producers announced that the show would move to Broadway's Bernard Jacobs Theater, with previews commencing in February. While I am thrilled that many more people will be able to experience this special show, I must confess that I am concerned that too much of the show's magic will be lost in a much larger theater. Nevertheless, the creators of the show are so talented that I have confidence and hope that such concerns will prove to be unfounded.
One day after seeing "Once," I had the good fortune to see Lincoln Center Theater's outstanding new political drama on the US involvement in Afghanistan from 1981-91 entitled
"Blood And Gifts." Written by J.T. Rogers and playing at the Mitzi Newhouse, "Blood and Gifts" succeeds where most political dramas fail, by making a compelling and engaging drama out of historical political facts. Even though anyone with handle on the events of the era depicted in the play knows where this plot will end, the play keeps its viewers on the edge of their seat, especially in the particularly compelling second act. Crisply and deftly directed by Bartlett Sher, and superbly acted by a 14 person cast led by a terrific Jeremy Davidson, "Blood and Gifts" is a political drama of the highest order. It is funny, educational, believable moving and suspenseful. Having presented "Blood and Gifts," and earlier this year "Other Desert Cities," Lincoln Center has premiered the year's two best new stage dramas.
A brief note on two other shows I recently viewed, the revised musical
"On A Clear Day You Can See Forever" and Playwrights Horizons new drama
"Maple And Vine." Both works present intriguing story elements, but both suffer the same major fault in that they are both dramatically inert in large measure. I cannot recommend either.
