On a visit to New York a few weeks back, I had the good fortune to see a great new play entitled "Kin" from an exciting young playwright in its world premiere at Playwrights Horizons. Penned by Bathsheba Doran and expertly directed by Sam Gold, "Kin" is a wise and deeply felt exploration of the the family and friendship ties that bind, pull, frustrate and foment a budding relationship between a man and woman who rarely appear together on stage. The play's tone is both elegiac and hopeful at the same time, and it is quite a feat to pull off such a seemingly dichotomous mood. Credit for doing so must go to the director, writer and amazing cast of this production.
Off-Broadway has gifted NY theatergoers two outstanding new dramas this year- first "Other Desert Cities," and now "Kin." Since the former has closed pending a possible move to Broadway, I encourage anyone who wants to see a fresh and inciteful new drama to pay a visit to Playwrights Horizons to see "Kin" before its currently scheduled closing date on April 17.
What to say about the Broadway mounting of "Priscilla, Queen of the Desert"? I could list the many deficiencies of this show, including an almost non-existent book, a primarily weak cast (Tony Sheldon excepted), and the need to check your rational brain at the door. But by the end of the evening watching this show, I decided all that is pointless and resistance was futile, I gave in and enjoyed the show for what it was - an entertaining romp and pageant.
Inconsistent and some especially weak casting does serious damage to David Leveaux's staging of one of my favorite plays of all time, Tom Stoppard's "Arcadia." The strength of the play holds up against the poor cast choices, but my heart (which was not engaged much during the show itself) was left aching for what this could have been with a few better actors in several key roles.
Casting is not the problem with Sharr White's new drama "The Other Place" at MCC Theater at the Lortel in the Village. For this frustrating and pedestrian play has the great fortune of having Laurie Melcalf starring in the lead role. Metcalf is amazing; the play, not so much. I would say it is a toss up as to whether Metcalf's performance alone makes the play worth seeing.
Finally, back in Los Angeles, the Kirk Douglas Theater is presenting the first west coast tour stop of the Druid's production of Martin McDonagh's "The Cripple of Inishmaan." I had seen and loved this production a year or two ago at the Atlantic Theater in New York. Except for two holdover from that earlier production, the cast is new. While the new cast members may not be quite up to the level of their outstanding predecessors, the whole still gels and this remains a great production of an outstanding play from a masterful Irish playwright. "Inishmaan" is funny, smart, moving and thrilling to behold. No finer work has graced the stages in Los Angeles thus far this year. If you are in the Southern California area, I strongly advise you to see this show before its May 1 closing date.
Following a trip to New York later this month, I expect to have reports on the new musical "Book of Mormon," Lynn Nottage's new play "By The Way, Meet Vera Stark," the new Tony Kushner play "IHo," and National Theatre import "War Horse."
Sunday, April 10, 2011
Sunday, March 13, 2011
NY Spring Season 2011 Report #1/ "Other Desert Cities" Succeeds On All Fronts
The good news is that 2011 has already produced a virtually perfect new play. The bad news is that play - Jon Robin Baitz' entertaining and probing "Other Desert Cities," has already ended its way too short run at Lincoln Center's Mitzi Newhouse theater. Word is that any interest in immediately moving this outstanding production to Broadway was squleched by the lack of an open appropriately sized Broadway theater. Too bad, because if this show is eventually mounted on Broadway in the fall as has been rumored, the talented original casts' other commitments will likely prevent this entire dream cast from returning to the show. One can at least hope that Stockard Channing will return to assume the lead matriarchal role of Polly Wyeth, because her career defining performance will unquestionably be the most difficult to replicate with another actress.
Despite the accolades that could be heaped on the actors, director (Joe Montello) and physical production designers of "Other Desert Cities," the highest praise should be reserved for the playwright himself. Indeed, Mr. Baitz has written a funny and moving play populated with characters that are meticulously fleshed out, believable and engagingly complex. There are no good and bad people here - everyone is painted in shades of grey, and the viewer's sympathies are constantly shifting among these charcaters. It all makes for a toxic family brew that is both trenchant and entertaining. Bravo to all involved, and lets get this back up on the boards as soon as possible, and with Ms. Channing repeating her duties, please.
Although not nearly as successful, David Lindsay-Abaire's new Manhattan Theater Club dramedy "Good People" similarly trades in characters who defy characterizations such as "good" or "bad." Similarly, this production features a great cast (led by a wonderful Frances McDormand) and pitch-perfect direction from the immensely talented Daniel Sullivan. But the key difference in quality for me was the fact that while I believed in the genuine nature of the plot points in "Other Desert Cities," the plot of "Good People" felt somewhat contrived and unbelievable at times. I was taken out of the play at times rather than remaining invested in it. Still, it is a worthwhile play given a very fine production.
MTC has another winning production on display at its smaller City Center stage in the form of young scribe Matthew Lopez' civil war era drama "The Whipping Man." Yet another fine cast, led by Andre Braugher and Andre Holland wrings as much as possible out of an interestingly plotted play that nevertheless suffers from some stilted and inauthentic dialogue. But those are quibbles, as I was drawn into the world of this heartfelt and moving drama.
The final show I saw on my trip to New York a few weeks back was Rinne Groff's "Compulsion" at The Public starring the incredibly over the top and annoying Mandy Patinkin. I revere The Public and the mission it performs for theatergoers, so I will say nothing beyond noting that this show too has closed, and if you missed it, consider yourself very fortunate.
Despite the accolades that could be heaped on the actors, director (Joe Montello) and physical production designers of "Other Desert Cities," the highest praise should be reserved for the playwright himself. Indeed, Mr. Baitz has written a funny and moving play populated with characters that are meticulously fleshed out, believable and engagingly complex. There are no good and bad people here - everyone is painted in shades of grey, and the viewer's sympathies are constantly shifting among these charcaters. It all makes for a toxic family brew that is both trenchant and entertaining. Bravo to all involved, and lets get this back up on the boards as soon as possible, and with Ms. Channing repeating her duties, please.
Although not nearly as successful, David Lindsay-Abaire's new Manhattan Theater Club dramedy "Good People" similarly trades in characters who defy characterizations such as "good" or "bad." Similarly, this production features a great cast (led by a wonderful Frances McDormand) and pitch-perfect direction from the immensely talented Daniel Sullivan. But the key difference in quality for me was the fact that while I believed in the genuine nature of the plot points in "Other Desert Cities," the plot of "Good People" felt somewhat contrived and unbelievable at times. I was taken out of the play at times rather than remaining invested in it. Still, it is a worthwhile play given a very fine production.
MTC has another winning production on display at its smaller City Center stage in the form of young scribe Matthew Lopez' civil war era drama "The Whipping Man." Yet another fine cast, led by Andre Braugher and Andre Holland wrings as much as possible out of an interestingly plotted play that nevertheless suffers from some stilted and inauthentic dialogue. But those are quibbles, as I was drawn into the world of this heartfelt and moving drama.
The final show I saw on my trip to New York a few weeks back was Rinne Groff's "Compulsion" at The Public starring the incredibly over the top and annoying Mandy Patinkin. I revere The Public and the mission it performs for theatergoers, so I will say nothing beyond noting that this show too has closed, and if you missed it, consider yourself very fortunate.
Sunday, January 23, 2011
LA Report: "Loving Repeating" is Enchanting; "Traces" is Entrancing
Given that there was very little quality Los Angeles theater to recommend in 2010, its a pleasure to report on two shows now playing in the Los Angeles area that are well worth seeing.
Down in Long Beach, International City Theatre is presenting the West Coast Premiere of the unique and enchanting Gertrude Stein musical "Loving Repeating," with music by Stephen Flaherty ("Ragtime," "Once On This Island") and lyrics by Gertrude Stein (adapted by Frank Galati). This show played in Chicago in 2006 to acclaim, and it is a shame that it has not received many productions since then. Granted, this non-linear, poetic show is not going to be appeal to those who like their musicals spoon-fed to them. But ICT gives this sublime score and book a beautifully sung and performed production. It is quiet and contemplative, yet moving and sweet. Ms. Stein would have been proud of the way this show makes her words sing. ICT should be commended for bringing this challenging show to their audience. I strongly suggest you reward them with a visit to this show which plays through February 13. You too will be rewarded.
Hollywood's Montalban Theatre is now featuring the engaging and thrilling cirque-ish show "Traces." The reference to a cirque-like show is somewhat misleading, because this is a hipper and more engaging show than what has evolved at Cirque du Soleil and its knock-offs. Most of those shows feature rather anonymous performers. By contrast, "Traces" provides the back-story on its 7 extremely talented and interesting performers. As a result, there is more emotional pull here than in the standard cirque show. Very creative, very well constructed, very exciting, "Traces" is very recommended.
Down in Long Beach, International City Theatre is presenting the West Coast Premiere of the unique and enchanting Gertrude Stein musical "Loving Repeating," with music by Stephen Flaherty ("Ragtime," "Once On This Island") and lyrics by Gertrude Stein (adapted by Frank Galati). This show played in Chicago in 2006 to acclaim, and it is a shame that it has not received many productions since then. Granted, this non-linear, poetic show is not going to be appeal to those who like their musicals spoon-fed to them. But ICT gives this sublime score and book a beautifully sung and performed production. It is quiet and contemplative, yet moving and sweet. Ms. Stein would have been proud of the way this show makes her words sing. ICT should be commended for bringing this challenging show to their audience. I strongly suggest you reward them with a visit to this show which plays through February 13. You too will be rewarded.
Hollywood's Montalban Theatre is now featuring the engaging and thrilling cirque-ish show "Traces." The reference to a cirque-like show is somewhat misleading, because this is a hipper and more engaging show than what has evolved at Cirque du Soleil and its knock-offs. Most of those shows feature rather anonymous performers. By contrast, "Traces" provides the back-story on its 7 extremely talented and interesting performers. As a result, there is more emotional pull here than in the standard cirque show. Very creative, very well constructed, very exciting, "Traces" is very recommended.
Saturday, December 25, 2010
2010 TOP 10 THEATER PRODUCTIONS
1. ANGELS IN AMERICA (NY/ Signature Theater) ****
2. THE BROTHER/ SISTER PLAYS (Chicago/ Steppenwolf) ****
3. THE SCOTTSBORO BOYS (NY/ Broadway) ****
4. FENCES (NY/ Broadway) ****
5. PITMAN PAINTERS (NY/ Broadway) ***1/2
6. RED (NY/Broadway) ***1/2
7. WHEN THE RAIN STOPS FALLING (NY/ Lincoln Center) ***1/2
8. GRACELAND (NY/ Lincoln Center) ***1/2
9. LIEUTENANT OF INISHMORE (LA/ Taper)***1/2
10. MERCHANT OF VENICE (NY/ Broadway) ***1/2
Honorable Mention: TIME STANDS STILL (NY/ Broadway); ORPHAN"S HOME CYCLE (NY/ Signature Theater); AMERICAN IDIOT (NY/ Broadway)
Remarkable Returns to Shows First Viewed In Prior Years: A LITTLE NIGHT MUSIC (NY/ Broadway)
Number of shows attended: 88 (up just one from last year's 87)
Top 10 breakdown: 1 new musical, 5 new plays, 4 revivals
2010's Top 10 Acting Performances
1. Cast of Signature Theater's ANGELS IN AMERICA
2. Cast of Steppenwolf Theater's THE BROTHER/ SISTER PLAYS
3. Viola Davis (FENCES)
4. Laura Linney (TIME STANDS STILL)
5. Bernadette Peters (A LITTLE NIGHT MUSIC)
6. Lily Rabe (MERCHANT OF VENICE)
7. Liev Schreiber (A VIEW FROM THE BRIDGE)
8. Chris Pine (LIEUTENANT OF INISHMORE)
9. Alfred Molina(RED)
10. Raul Esparza (LEAP OF FAITH)
The Worst in Theater - 2010
One show stands alone - "SPIDER-MAN: TURN OFF THE DARK" aka "The Dark Turn Off," which due to the serious cast injuries to date has been called Broadway's first "snuff musical." The most expensive Broadway production to date is jaw-droppingly abysmal. Really, a disaster of epic propotions. All other poor productions of the year pale in comparison to the failure of this flying turkey. Enough said.
In contrast, enough cannot be said about the sad closing of the year's best (by far) new musical, THE SCOTTSBORO BOYS. I am deeply concerned about the future of serious and challenging musicals on Broadway after seeing the poor box office performance of this incredibly moving show, notwithstanding the success of last year's NEXT TO NORMAL. I can only hope that my concern will be dispelled in the years to come.
Happy New Year.
2. THE BROTHER/ SISTER PLAYS (Chicago/ Steppenwolf) ****
3. THE SCOTTSBORO BOYS (NY/ Broadway) ****
4. FENCES (NY/ Broadway) ****
5. PITMAN PAINTERS (NY/ Broadway) ***1/2
6. RED (NY/Broadway) ***1/2
7. WHEN THE RAIN STOPS FALLING (NY/ Lincoln Center) ***1/2
8. GRACELAND (NY/ Lincoln Center) ***1/2
9. LIEUTENANT OF INISHMORE (LA/ Taper)***1/2
10. MERCHANT OF VENICE (NY/ Broadway) ***1/2
Honorable Mention: TIME STANDS STILL (NY/ Broadway); ORPHAN"S HOME CYCLE (NY/ Signature Theater); AMERICAN IDIOT (NY/ Broadway)
Remarkable Returns to Shows First Viewed In Prior Years: A LITTLE NIGHT MUSIC (NY/ Broadway)
Number of shows attended: 88 (up just one from last year's 87)
Top 10 breakdown: 1 new musical, 5 new plays, 4 revivals
2010's Top 10 Acting Performances
1. Cast of Signature Theater's ANGELS IN AMERICA
2. Cast of Steppenwolf Theater's THE BROTHER/ SISTER PLAYS
3. Viola Davis (FENCES)
4. Laura Linney (TIME STANDS STILL)
5. Bernadette Peters (A LITTLE NIGHT MUSIC)
6. Lily Rabe (MERCHANT OF VENICE)
7. Liev Schreiber (A VIEW FROM THE BRIDGE)
8. Chris Pine (LIEUTENANT OF INISHMORE)
9. Alfred Molina(RED)
10. Raul Esparza (LEAP OF FAITH)
The Worst in Theater - 2010
One show stands alone - "SPIDER-MAN: TURN OFF THE DARK" aka "The Dark Turn Off," which due to the serious cast injuries to date has been called Broadway's first "snuff musical." The most expensive Broadway production to date is jaw-droppingly abysmal. Really, a disaster of epic propotions. All other poor productions of the year pale in comparison to the failure of this flying turkey. Enough said.
In contrast, enough cannot be said about the sad closing of the year's best (by far) new musical, THE SCOTTSBORO BOYS. I am deeply concerned about the future of serious and challenging musicals on Broadway after seeing the poor box office performance of this incredibly moving show, notwithstanding the success of last year's NEXT TO NORMAL. I can only hope that my concern will be dispelled in the years to come.
Happy New Year.
Sunday, November 07, 2010
"Angels" Soars; "Scottsboro" Sizzles
Two shows now playing in New York, one on Broadway and one off-Broadway, exemplify the best that theater can achieve.
Starting off-Broadway, where the Signature Theater should be commended for giving Tony Kushner's "Angels in America" a searing and moving production that matches the brilliance of the work itself. Despite having seen this show three times in its Los Angeles premiere, once on Broadway and the national tour, sitting through the spellbinding seven hours of this play in one day at the Signature I was struck by several notable observations about a play that seemed new to me all over again. First, this play works best for me when done in an intimate setting, and the Signature's relatively small venue provides a welcome home for this masterpiece. Second, while I loved all of the actors who were cast in the original US production of "Angels," in their own way each of the actors in the Signature production is at least as good as their original counterpart. I cannot even single any one of the cast out for special praise - they were all so very good. I know some people have expressed reservations with Zoe Kazan as Harper, but I found her take on the role to be original and genuine.
Third, I was struck by how timely "Angels" is today, and that surprised me a great deal. Politically, today's tea party fanatics are close proxies of the Reaganites depicted in the play, and history does seem to be repeating itself. I was also moved by how prophetic this play, written pre-9/11, was in addressing the tension between desires for a static world, and the yearning for a world that changes and progressess. Finally, due to some judicious rewrites by Mr. Kushner and fluid direction by Michael Grief, the second play ("Perestroika") is now simply perfect where it was previously the grander and more ambitious, albeit flabbier portion.
A perfect production of a now perfect play. I will go out on a limb and say that seeing "Angels" in its current incarnation provided me with the most satisfying and thrilling theatrical experience I have witnessed to date.
The good news does not end there, because one of the finest new musicals in years has taken up shop at Broadway's Lyceum Theatre in the form of Kander & Ebb's "The Scottsboro Boys." This show, which I loved at the Vineyard off-Broadway, and been tweaked and sharpened by its outstanding director and choreographer Susan Stroman. Taking on the true story of the Scottsboro Boys and placing them in a minstrel show framing device is sheer genius that grabs hold of the audience from the opening and never lets go. The score, one of Kander & Ebb's best, is the best new musical score in years. The cast has improved since the show's Vinyard days with one notable exception. In the lead role of Haywood Patterson, a very fine Joshua Henry simply does now show the vulnerabilty and range that the amazing Brandon Victor Dixon brought to the role off-Broadway. But no matter- the show works on Broadway and is a must see for anyone interested in the musical theater form.
A few quick notes on other new shows now playing. "Time Stands Still" and "Pitman Painters" are both good plays given sparkling and very well acted productions. "Woman on the Verge of A Nervous Breakdown" "Gatz" and "Middletown" are flawed works that nevertheless provide some real pleasures. "La Bete" was disappointing, as was virtually all of the Los Angeles based theater I have seen in the past few months. Nonetheless, if no other good new work opens in the balance of this theater season, "Angels" and "Scottsboro" together ensure that this year has been a good one for this theatergoer.
Starting off-Broadway, where the Signature Theater should be commended for giving Tony Kushner's "Angels in America" a searing and moving production that matches the brilliance of the work itself. Despite having seen this show three times in its Los Angeles premiere, once on Broadway and the national tour, sitting through the spellbinding seven hours of this play in one day at the Signature I was struck by several notable observations about a play that seemed new to me all over again. First, this play works best for me when done in an intimate setting, and the Signature's relatively small venue provides a welcome home for this masterpiece. Second, while I loved all of the actors who were cast in the original US production of "Angels," in their own way each of the actors in the Signature production is at least as good as their original counterpart. I cannot even single any one of the cast out for special praise - they were all so very good. I know some people have expressed reservations with Zoe Kazan as Harper, but I found her take on the role to be original and genuine.
Third, I was struck by how timely "Angels" is today, and that surprised me a great deal. Politically, today's tea party fanatics are close proxies of the Reaganites depicted in the play, and history does seem to be repeating itself. I was also moved by how prophetic this play, written pre-9/11, was in addressing the tension between desires for a static world, and the yearning for a world that changes and progressess. Finally, due to some judicious rewrites by Mr. Kushner and fluid direction by Michael Grief, the second play ("Perestroika") is now simply perfect where it was previously the grander and more ambitious, albeit flabbier portion.
A perfect production of a now perfect play. I will go out on a limb and say that seeing "Angels" in its current incarnation provided me with the most satisfying and thrilling theatrical experience I have witnessed to date.
The good news does not end there, because one of the finest new musicals in years has taken up shop at Broadway's Lyceum Theatre in the form of Kander & Ebb's "The Scottsboro Boys." This show, which I loved at the Vineyard off-Broadway, and been tweaked and sharpened by its outstanding director and choreographer Susan Stroman. Taking on the true story of the Scottsboro Boys and placing them in a minstrel show framing device is sheer genius that grabs hold of the audience from the opening and never lets go. The score, one of Kander & Ebb's best, is the best new musical score in years. The cast has improved since the show's Vinyard days with one notable exception. In the lead role of Haywood Patterson, a very fine Joshua Henry simply does now show the vulnerabilty and range that the amazing Brandon Victor Dixon brought to the role off-Broadway. But no matter- the show works on Broadway and is a must see for anyone interested in the musical theater form.
A few quick notes on other new shows now playing. "Time Stands Still" and "Pitman Painters" are both good plays given sparkling and very well acted productions. "Woman on the Verge of A Nervous Breakdown" "Gatz" and "Middletown" are flawed works that nevertheless provide some real pleasures. "La Bete" was disappointing, as was virtually all of the Los Angeles based theater I have seen in the past few months. Nonetheless, if no other good new work opens in the balance of this theater season, "Angels" and "Scottsboro" together ensure that this year has been a good one for this theatergoer.
Saturday, September 18, 2010
Fall Theater Preview
It looks like a fairly busy fall theater season in New York, but the pickings look much slimmer this fall in Los Angeles. Nevertheless, and in no particular order, here are the upcoming shows in both cities that I am most looking forward to seeing, or at least about which I am very curious:
NY/ Broadway
Pitman Painters (transfer from London)
Scottsboro Boys (transfer from off-Broadway)
Women on the Verge of a Nervous Breakdown
Merchant of Venice (transfer from Public's Shakespeare in the Park)
Free Man of Color
Elling
NY/ Off-Broadway
Gatz (@Public Theater)
Angels In America (@Signature Theater)
Middletown (@Vineyard)
LA area
Leap of Faith (@ Ahmanson)
Merry Wives of Windsor (@Broad Stage from Globe in London)
Becky Shaw (@South Coast Rep)
Time will tell whether expectations match reality as to the above shows. Watch this space for the results throughout the fall.
NY/ Broadway
Pitman Painters (transfer from London)
Scottsboro Boys (transfer from off-Broadway)
Women on the Verge of a Nervous Breakdown
Merchant of Venice (transfer from Public's Shakespeare in the Park)
Free Man of Color
Elling
NY/ Off-Broadway
Gatz (@Public Theater)
Angels In America (@Signature Theater)
Middletown (@Vineyard)
LA area
Leap of Faith (@ Ahmanson)
Merry Wives of Windsor (@Broad Stage from Globe in London)
Becky Shaw (@South Coast Rep)
Time will tell whether expectations match reality as to the above shows. Watch this space for the results throughout the fall.
Sunday, July 11, 2010
Taper Has A Winner- The Lt. of Inishmore
Since the early part of 2010, my recommendations for theater to see in Los Angeles have been non-existent. It was not that I had ceased seeing shows in Los Angeles, there simply was nothing I saw that was worth recommending. That drought is finally over, as I can heartily recommend the excellent production of "The Lieutenant of Inishmore" by the incredibly funny and talented Irish playwright Martin McDonagh.
I loved the 2006 Broadway production of "Inishmore" that shared the same director as the Taper mounting - Wilson Milam. While the LA show he has mounted does not quite reach the giddy heights of the Broadway production, it is nevertheless a winning version of the play. Yes, I miss the career making performance of Alison Pill as Mairead (Zoe Perry in this role at the Taper is just okay). But this deficiency is happily compensated by the outstanding male lead performance that Chris Pine turns in as the crazy terrorist, Padraic. Forgive me for dreaming of my imaginary perfect production of this show starring Pine and Pill,
"Inishmore" is the bloodiest and most violent stage drama I have seen, and normally those attributes would turn me off to a show. But McDonagh is a genius for writing a bloody, violent work that is also one of the funniest plays I have seen, and for encoding a powerful anti-violence, anti-terrorism message amidst the crazy carnage. Those are extremely difficult things to do, but the writer and director acquit their duties quite well in doing so here.
I should note there were a fair number of patrons walking out of "Inishmore" at the Taper, particularly in the midst of the second act. Note to those patrons who walked out- do you have any idea how rude it is to walk out mid-performance? It is rude to the other patrons and the actors, many of whom could be making much more money making movies that would not suffer much if you walked out on them mid-exhibiton. Next time, leave at intermission (an act that I have no problem with, and often do it myself if a show is not my cup of tea), or better yet, stay home altogether. Sorry for the rant, but I dislike having my theater experience diminished by the bad and inexcusable behavior of other patrons, even when such behavior does not involve a device that rings, bleeps, glows or vibrates!
I loved the 2006 Broadway production of "Inishmore" that shared the same director as the Taper mounting - Wilson Milam. While the LA show he has mounted does not quite reach the giddy heights of the Broadway production, it is nevertheless a winning version of the play. Yes, I miss the career making performance of Alison Pill as Mairead (Zoe Perry in this role at the Taper is just okay). But this deficiency is happily compensated by the outstanding male lead performance that Chris Pine turns in as the crazy terrorist, Padraic. Forgive me for dreaming of my imaginary perfect production of this show starring Pine and Pill,
"Inishmore" is the bloodiest and most violent stage drama I have seen, and normally those attributes would turn me off to a show. But McDonagh is a genius for writing a bloody, violent work that is also one of the funniest plays I have seen, and for encoding a powerful anti-violence, anti-terrorism message amidst the crazy carnage. Those are extremely difficult things to do, but the writer and director acquit their duties quite well in doing so here.
I should note there were a fair number of patrons walking out of "Inishmore" at the Taper, particularly in the midst of the second act. Note to those patrons who walked out- do you have any idea how rude it is to walk out mid-performance? It is rude to the other patrons and the actors, many of whom could be making much more money making movies that would not suffer much if you walked out on them mid-exhibiton. Next time, leave at intermission (an act that I have no problem with, and often do it myself if a show is not my cup of tea), or better yet, stay home altogether. Sorry for the rant, but I dislike having my theater experience diminished by the bad and inexcusable behavior of other patrons, even when such behavior does not involve a device that rings, bleeps, glows or vibrates!
Saturday, June 05, 2010
2009-10 Theater Season/ Wrap Up
In late April the 2009-10 New York Theater season came to a close with a whimper. All in all, it was a rather lackluster Broadway season. Although there were some good new plays ("Red" chief among them), and some good new musicals (namely, "American Idiot" and "Memphis"), there was nothing great in the way of new work on Broadway as was the case last season. In terms of revivals, none of the musical revivals did much for me except "Ragtime," although I will confess that there was one terrific play revival ("Fences").
The real action over the past New York theater season was off-Broadway, which featured an amazing new play trilogy ("The Brother/Sister Plays" at the Public, which was further improved in the later run at Steppenwolf in Chicago) and a breathtaking new musical by Kander & Ebb ("The Scottsboro Boys"), which is headed to Broadway in the fall. Although I would not expect to see "The Brother/Sister Plays" on Broadway anytime soon (which is fine - off Broadway is where that jewel belongs), there is an undeniable trend to move off-Broadway successes to the sometimes harsh lights of a largely tourist dominated Broadway. This season saw moves of "Next Fall," a rather weak play in my view, to Broadway, but confirmed or rumored to be moving to Broadway next season, in addition to "Scottsboro Boys," are "Brief Encounter," "Bloody, Bloody Andrew Jackson," and "The Kid." Quite frankly, I am not sure any of these shows will work on Broadway, and the last two named musicals are simply not good enough in this writer's opinion to justify that move. But if enough investors are found, I suspect they will make the move.
My Tony predictions were correct in 17 of 26 categories. Not a great percentage, but it was a tough year to predict due to overall lack of quality this year.
The real action over the past New York theater season was off-Broadway, which featured an amazing new play trilogy ("The Brother/Sister Plays" at the Public, which was further improved in the later run at Steppenwolf in Chicago) and a breathtaking new musical by Kander & Ebb ("The Scottsboro Boys"), which is headed to Broadway in the fall. Although I would not expect to see "The Brother/Sister Plays" on Broadway anytime soon (which is fine - off Broadway is where that jewel belongs), there is an undeniable trend to move off-Broadway successes to the sometimes harsh lights of a largely tourist dominated Broadway. This season saw moves of "Next Fall," a rather weak play in my view, to Broadway, but confirmed or rumored to be moving to Broadway next season, in addition to "Scottsboro Boys," are "Brief Encounter," "Bloody, Bloody Andrew Jackson," and "The Kid." Quite frankly, I am not sure any of these shows will work on Broadway, and the last two named musicals are simply not good enough in this writer's opinion to justify that move. But if enough investors are found, I suspect they will make the move.
My Tony predictions were correct in 17 of 26 categories. Not a great percentage, but it was a tough year to predict due to overall lack of quality this year.
Saturday, May 22, 2010
"Enron" Flops...Again; A Steppenwolf Triumph
Earlier this month I caught one of the final performances of the British import "Enron," which had a unfairly brief run on Broadway. While the play is not perfect, it was creative, engaging and original. Unquestionably, it deserved to find an audience. The fact that it closed just a little more than a week after opening was quite baffling to me. Further baffling to me (and likely related to the show's quick demise) was the show's failure to secure a Best Play Tony nomination. I found "Enron" to be of much higher quality than at least 3 of the 4 nominees in that category, and felt it was on par with the 4th and best of the this year's nominees ("Red").
So what gives? Some are speculating that the show was too critical of the US. Others speculate that a play with a serious theme cannot find a home on Broadway today. Hopefully, neither theory is correct. I believe that "Enron" could have a had a healthy off-Broadway run (the Public would have been an ideal venue for this show), and may have been able to parlay that into a successful run on Broadway. Perhaps there is validity to the view that plays with a serious theme need some sort of buzz generating run in the US to ensure success on a Broadway stage. Whatever the reason for "Enron" (the play's) failure, I found myself fortunate to catch the show before it closed, thereby saving me from having to fly to London to see it where it is still enjoying a successful run on the West End.
Good fortune also shined on me during a recent trip to Chicago where I was able to experience theatrical genius in Steppenwolf's Theater recent production of Tarell Alvin McCraney's brilliant trilogy "The Brother/Sister Plays" directed by Tina Landau. Last fall, I saw the trilogy at the Public in New York, where one of the three plays was also directed by Ms. Landau. I was extremely impressed with the plays and the Public production, but the Steppenwolf production was far superior in almost every respect. Ms. Landau greatly improved "In The Red & Brown Water," which she also directed at the Public, and her take on the other two plays that form the trilogy ("Brothers Size" and "Marcus; Or The Secret of Sweet") was nothing less than mesmerizing. Of course, she was greatly aided by an amazing cast with particular standout performances given by Alana Arenas, K. Todd Freeman, Ora Jones, and Jacqueline Williams. Truly, the hard working ensemble cast in this show provided a rare theatrical experience. And as for young playwright McCraney, after "Wig Out" and "The Brother/Sister Plays," he is well on his way to becoming the most exciting and talented playwright to emerge from this new century. Bravo.
So what gives? Some are speculating that the show was too critical of the US. Others speculate that a play with a serious theme cannot find a home on Broadway today. Hopefully, neither theory is correct. I believe that "Enron" could have a had a healthy off-Broadway run (the Public would have been an ideal venue for this show), and may have been able to parlay that into a successful run on Broadway. Perhaps there is validity to the view that plays with a serious theme need some sort of buzz generating run in the US to ensure success on a Broadway stage. Whatever the reason for "Enron" (the play's) failure, I found myself fortunate to catch the show before it closed, thereby saving me from having to fly to London to see it where it is still enjoying a successful run on the West End.
Good fortune also shined on me during a recent trip to Chicago where I was able to experience theatrical genius in Steppenwolf's Theater recent production of Tarell Alvin McCraney's brilliant trilogy "The Brother/Sister Plays" directed by Tina Landau. Last fall, I saw the trilogy at the Public in New York, where one of the three plays was also directed by Ms. Landau. I was extremely impressed with the plays and the Public production, but the Steppenwolf production was far superior in almost every respect. Ms. Landau greatly improved "In The Red & Brown Water," which she also directed at the Public, and her take on the other two plays that form the trilogy ("Brothers Size" and "Marcus; Or The Secret of Sweet") was nothing less than mesmerizing. Of course, she was greatly aided by an amazing cast with particular standout performances given by Alana Arenas, K. Todd Freeman, Ora Jones, and Jacqueline Williams. Truly, the hard working ensemble cast in this show provided a rare theatrical experience. And as for young playwright McCraney, after "Wig Out" and "The Brother/Sister Plays," he is well on his way to becoming the most exciting and talented playwright to emerge from this new century. Bravo.
Sunday, March 07, 2010
NY Spring 2010 Report #1/ Off Broadway Gems -"Scottboro," "Orphans" and "Rain"
The biggest excitement being generated in the early portion of the Spring 2010 NY theater season can be found off-Broadway, where I recently sampled three solid new shows now playing to, for the moment, sold out (or near sold out) houses.
The first, and best of the lot is the new Kander & Ebb musical "The Scottboro Boys" which is given an exciting, audacious and sparkling production helmed by director Susan Stroman. Everything about this show is top-notch, from the score, to the technical aspects (lighting, sound, sets), to the talented cast. The story focuses on the historical Scottsboro Boys incident that took place in the early 1930s, when a group of young African American men were falsely accused and convicted (multiple times, after multiple successful federal constitutional appeals) of raping two young white woman who were travelling on the same train in Alabama.
In a very bold and risky move, the show is performed minstrel-style, which is somewhat off-putting at first glance. But before long, the brilliance of the concept shines through - minstrel shows are all about denying the essential humanity of the performers - the same denial of essential humanity that African Americans faced in the early 1930's which provided the breeding grounds for the travesties of justice depicted here. The show's style in quite reminiscent of two earlier Kander & Ebb shows - "Chicago" and "Cabaret," and "Scottsboro" is just as good as those now classic musicals. The performances are outstanding, with a particular star making turn provided by the lead performance of Brandon Victor Dixon. At times the show shocks its audience with its stereotyped racial portrayals, but nothing is more shocking than the treatment that the Scottsboro boys received from the Alabama state judicial system.
Essential for a successful musical, the score on first hearing is tuneful and beautiful. Particular standouts in the score are "Go Back Home," "You Can't Do Me" and the title tune. The tone of the show veers from joyous, to melancholic, to disturbing - all emotional reactions that its canny creators surely intended. There are rumblings that this show may move to Broadway. It will be a challenge to make this show work in that environment, but the real shame would be not giving this amazing show, which Fred Ebb was working on at the time of his death, a chance at a bigger audience and the greater exposure that a Broadway run would provide.
Another outstanding show playing off-Broadway is Horton Foote's three-part, nine hour opus "The Orphan's Home Cycle," which I recently caught in one of the scarce full day (it starts at 11am and ends after 11pm) "marathon performances." The first part of three is the most breathtaking and focused, although the second part is also very strong. By the time I made my way through the third and final part, I have to admit feeling that the show's themes were repeating themselves too often; but it is a minor problem amidst a major work. I could also take issue with some of the acting, but overall, the acting is solid, especially the outstanding lead performance of Bill Heck who plays the main character, Horace Robedaux.
An interesting companion piece to "Orphan's Home Cycle," albeit in a much more condensed form, can be found at Lincoln Center's Mitzi Newhouse Theater where the Australian dark family drama "When The Rain Stopped Falling" recently opened. A similar "sins of the father" theme can be found in both works, although many of the particular sins handed down from prior generations differ in the works, at least in name. But the inability of family members to communicate, and the consequences of such failure, are central themes in both plays.
The acting in "Rain" is quite strong, but the real star of the production is the sensitive and elegant direction by the supremely talented director, David Cromer. Cromer ensures that all of the theatrical elements - e.g., the actings, set, staging, music and lighting, are carefully calibrated and synchronized to allow for the themes of the play to slowly and beautifully reveal themselves. Walking out of Lincoln Center after the show, I felt a strong urge to read the lyrical
"Rain" script, which thankfully can be quickly obtained from Amazon.com!
These three solid off-Broadway shows provide an exciting and solid base for the spring 2010 theater season in New York.
The first, and best of the lot is the new Kander & Ebb musical "The Scottboro Boys" which is given an exciting, audacious and sparkling production helmed by director Susan Stroman. Everything about this show is top-notch, from the score, to the technical aspects (lighting, sound, sets), to the talented cast. The story focuses on the historical Scottsboro Boys incident that took place in the early 1930s, when a group of young African American men were falsely accused and convicted (multiple times, after multiple successful federal constitutional appeals) of raping two young white woman who were travelling on the same train in Alabama.
In a very bold and risky move, the show is performed minstrel-style, which is somewhat off-putting at first glance. But before long, the brilliance of the concept shines through - minstrel shows are all about denying the essential humanity of the performers - the same denial of essential humanity that African Americans faced in the early 1930's which provided the breeding grounds for the travesties of justice depicted here. The show's style in quite reminiscent of two earlier Kander & Ebb shows - "Chicago" and "Cabaret," and "Scottsboro" is just as good as those now classic musicals. The performances are outstanding, with a particular star making turn provided by the lead performance of Brandon Victor Dixon. At times the show shocks its audience with its stereotyped racial portrayals, but nothing is more shocking than the treatment that the Scottsboro boys received from the Alabama state judicial system.
Essential for a successful musical, the score on first hearing is tuneful and beautiful. Particular standouts in the score are "Go Back Home," "You Can't Do Me" and the title tune. The tone of the show veers from joyous, to melancholic, to disturbing - all emotional reactions that its canny creators surely intended. There are rumblings that this show may move to Broadway. It will be a challenge to make this show work in that environment, but the real shame would be not giving this amazing show, which Fred Ebb was working on at the time of his death, a chance at a bigger audience and the greater exposure that a Broadway run would provide.
Another outstanding show playing off-Broadway is Horton Foote's three-part, nine hour opus "The Orphan's Home Cycle," which I recently caught in one of the scarce full day (it starts at 11am and ends after 11pm) "marathon performances." The first part of three is the most breathtaking and focused, although the second part is also very strong. By the time I made my way through the third and final part, I have to admit feeling that the show's themes were repeating themselves too often; but it is a minor problem amidst a major work. I could also take issue with some of the acting, but overall, the acting is solid, especially the outstanding lead performance of Bill Heck who plays the main character, Horace Robedaux.
An interesting companion piece to "Orphan's Home Cycle," albeit in a much more condensed form, can be found at Lincoln Center's Mitzi Newhouse Theater where the Australian dark family drama "When The Rain Stopped Falling" recently opened. A similar "sins of the father" theme can be found in both works, although many of the particular sins handed down from prior generations differ in the works, at least in name. But the inability of family members to communicate, and the consequences of such failure, are central themes in both plays.
The acting in "Rain" is quite strong, but the real star of the production is the sensitive and elegant direction by the supremely talented director, David Cromer. Cromer ensures that all of the theatrical elements - e.g., the actings, set, staging, music and lighting, are carefully calibrated and synchronized to allow for the themes of the play to slowly and beautifully reveal themselves. Walking out of Lincoln Center after the show, I felt a strong urge to read the lyrical
"Rain" script, which thankfully can be quickly obtained from Amazon.com!
These three solid off-Broadway shows provide an exciting and solid base for the spring 2010 theater season in New York.
Sunday, February 28, 2010
Well Produced Revivals in Los Angeles
There has not been much worthwhile to write about the Los Angeles theater scene since the year began, but there are 2 revivals of Pulitzer Prize winning plays now playing in Los Angeles that are worth seeing.
The first is the Mark Taper Forum's revival of the 1965 Pulitzer winning drama The Subject Was Roses by Frank Gilroy, starring Martin Sheen, Frances Conroy and Brian Gereghty. The plays is unquestionably dated and plays like a standard Playhouse 90 domestic melodrama. If one knows the play, one might question why it is worth reviving today. The answer is simple if one could amass an expert cast as the Taper and director Neil Pepe have done here. Sheen, now playing the father rather than the role of the son he played on Broadway many years ago, is great, as is Gereghty. But the best acting is provided by Conroy, who inhabits her character with unbounded depth and emotion. The acting (and unfussy direction by Pepe) provide ample reason to see this show before it closes on March 21.
The other revival worthy of note is Wit, the 1999 Pulitzer winning drama that remains relevant and fresh today, and is given sensitive and expert treatment by the Actors Co-op in Hollywood. I saw this show at it 1995 premiere at South Coast Rep, and then again off-Broadway with Kathleen Chalfant in the starring role (not to mention the fine HBO tv movie version starring Emma Thompson). All of these prior versions had outstanding lead performances, and the Actors Co-op rendition does very well in that department in the form of Nan McNamara playing Prof. Vivian Bearing. In the first few minutes watching this show, I feared that that Ms. McNamara was not going to be able to navigate the frailties and vulnerabilities written into her role, but she not only pulled it off, she did so with flying colors. The play, by one time playwright Margaret Edson, is extremely well written, and the entire production here works. I highly recommend you seeing this before its scheduled closing on March 28.
Check back later in March for reports on winter/spring theater in New York, where the biggest excitement on the early part of the season is unquestionably off-Broadway.
The first is the Mark Taper Forum's revival of the 1965 Pulitzer winning drama The Subject Was Roses by Frank Gilroy, starring Martin Sheen, Frances Conroy and Brian Gereghty. The plays is unquestionably dated and plays like a standard Playhouse 90 domestic melodrama. If one knows the play, one might question why it is worth reviving today. The answer is simple if one could amass an expert cast as the Taper and director Neil Pepe have done here. Sheen, now playing the father rather than the role of the son he played on Broadway many years ago, is great, as is Gereghty. But the best acting is provided by Conroy, who inhabits her character with unbounded depth and emotion. The acting (and unfussy direction by Pepe) provide ample reason to see this show before it closes on March 21.
The other revival worthy of note is Wit, the 1999 Pulitzer winning drama that remains relevant and fresh today, and is given sensitive and expert treatment by the Actors Co-op in Hollywood. I saw this show at it 1995 premiere at South Coast Rep, and then again off-Broadway with Kathleen Chalfant in the starring role (not to mention the fine HBO tv movie version starring Emma Thompson). All of these prior versions had outstanding lead performances, and the Actors Co-op rendition does very well in that department in the form of Nan McNamara playing Prof. Vivian Bearing. In the first few minutes watching this show, I feared that that Ms. McNamara was not going to be able to navigate the frailties and vulnerabilities written into her role, but she not only pulled it off, she did so with flying colors. The play, by one time playwright Margaret Edson, is extremely well written, and the entire production here works. I highly recommend you seeing this before its scheduled closing on March 28.
Check back later in March for reports on winter/spring theater in New York, where the biggest excitement on the early part of the season is unquestionably off-Broadway.
Sunday, January 03, 2010
Top 10 Theater Productions of the Decade (2000-2009)
1. August: Osage County (2007, dir. by Anna Shapiro)
No other play this decade had the emotional scope of this tartly funny masterpiece
2. Doubt (2005, dir. by Doug Hughes)
John Patrick Stanley's intensely engaging play with a star turn performance by Cherry Jones
3. Big River (2003 revival, dir. by Jeff Calhoon)
Deaf West Theater created a beautiful and moving new way to experience a musical - in sign and song
4. Metamorphoses (2001, dir by Mary Zimmerman)
Seeing this shortly after 9/11 in NYC was beyond moving; it lit the way to a new level of hope and understanding
5. The Crucible (2002 revival, dir. by Richard Eyre)
Liam Neeson and Laura Linney were incredible in this perfect production of one of my all-time favorite plays
6. Next To Normal (2009, dir. by Michael Grief)
At the end of the decade, provided proof that the musical is not dead, but can tackle serious issues in a moving way
7. Light In The Piazza (2005, dir, by Bartlett Sher)
Lincoln Center gave this a sterling production, highlighted by a life changing performance by Victoria Clark
8. 110 In The Shade (2007 revival, dir. by Lonny Price)
Sheer musical delight provided by a racially mixed cast (headed by the amazing Audra McDonald) that proved the case for color-blind casting
9. Into The Woods (2002 revival, dir. by James Lapine)
Another post 9/11 production that helped provide meaning and understanding to a battered world
10. Hairspray (2002, dir. by Jack O'Brien)
The traditional musical in all its glitzy and fun glory that succeeds in its aim- provide a fun escape to its audience
Honorable Mention: Proof (2001 dir. by Daniel Sullivan); Frozen (2004 dir. by Doug Hughes); Pillowman (2005 dir by John Crowley); Sweeney Todd (2006 revival dir. by John Doyle); South Pacific (2008 revival dir. by Bartlett Sher); Our Town (2009 revival dir. by David Cromer)
5 BEST THEATER TRENDS OF THE DECADE
1. Internet ticketing & internet theater chat boards
2. Continued survival of the musical form
3. Growth of regional theaters and non-profits, as proven by their role in nearly every work listed above as the decade's best (although I greatly fear what the retrenchment caused by the bad economy means for the next decade of theater)
4. Times Square "steps" above TKTS booth creating a public space devoted to theater
5. Digital production enables every musical score to be released on CD for posterity
5 WORST THEATER TRENDS OF THE DECADE
1. Cell phones ringing during performances (and sometimes answered mid-performance)
2. Musicals that parody the form
3. The fact that "Wicked" is the most successful show of the decade
4. Need to cast movie stars to have a successful Broadway run
5. Every musical score gets released on CD (obviously this trend leaves me with mixed feelings), including those that would be best proceeding silently into oblivion
No other play this decade had the emotional scope of this tartly funny masterpiece
2. Doubt (2005, dir. by Doug Hughes)
John Patrick Stanley's intensely engaging play with a star turn performance by Cherry Jones
3. Big River (2003 revival, dir. by Jeff Calhoon)
Deaf West Theater created a beautiful and moving new way to experience a musical - in sign and song
4. Metamorphoses (2001, dir by Mary Zimmerman)
Seeing this shortly after 9/11 in NYC was beyond moving; it lit the way to a new level of hope and understanding
5. The Crucible (2002 revival, dir. by Richard Eyre)
Liam Neeson and Laura Linney were incredible in this perfect production of one of my all-time favorite plays
6. Next To Normal (2009, dir. by Michael Grief)
At the end of the decade, provided proof that the musical is not dead, but can tackle serious issues in a moving way
7. Light In The Piazza (2005, dir, by Bartlett Sher)
Lincoln Center gave this a sterling production, highlighted by a life changing performance by Victoria Clark
8. 110 In The Shade (2007 revival, dir. by Lonny Price)
Sheer musical delight provided by a racially mixed cast (headed by the amazing Audra McDonald) that proved the case for color-blind casting
9. Into The Woods (2002 revival, dir. by James Lapine)
Another post 9/11 production that helped provide meaning and understanding to a battered world
10. Hairspray (2002, dir. by Jack O'Brien)
The traditional musical in all its glitzy and fun glory that succeeds in its aim- provide a fun escape to its audience
Honorable Mention: Proof (2001 dir. by Daniel Sullivan); Frozen (2004 dir. by Doug Hughes); Pillowman (2005 dir by John Crowley); Sweeney Todd (2006 revival dir. by John Doyle); South Pacific (2008 revival dir. by Bartlett Sher); Our Town (2009 revival dir. by David Cromer)
5 BEST THEATER TRENDS OF THE DECADE
1. Internet ticketing & internet theater chat boards
2. Continued survival of the musical form
3. Growth of regional theaters and non-profits, as proven by their role in nearly every work listed above as the decade's best (although I greatly fear what the retrenchment caused by the bad economy means for the next decade of theater)
4. Times Square "steps" above TKTS booth creating a public space devoted to theater
5. Digital production enables every musical score to be released on CD for posterity
5 WORST THEATER TRENDS OF THE DECADE
1. Cell phones ringing during performances (and sometimes answered mid-performance)
2. Musicals that parody the form
3. The fact that "Wicked" is the most successful show of the decade
4. Need to cast movie stars to have a successful Broadway run
5. Every musical score gets released on CD (obviously this trend leaves me with mixed feelings), including those that would be best proceeding silently into oblivion
Sunday, December 20, 2009
2009 Top 10 Theater Productions
1. Next To Normal (NY/ Broadway) ****
2. Our Town (NY/ Off Broadway) ****
3. Cripple of Inishmaan (NY/ Atlantic Thater) ****
4. Norman Conquests (NY/ Broadway) ****
5. Othello (Seattle/ Theater for New Audience) ****
6. Brother/Sister Plays (NY/Public) ***1/2
7. Ruined (NY/ MTC) ***1/2
8. Farragut North (LA/ Geffen) ***1/2
9. Ragtime (NY/ Broadway)***1/2
10. American Idiot (Berkeley Rep) ***1/2
Honorable Mention: Lydia (Taper/LA); reasons to be pretty (NY/ Broadway); Anita Bryant Died For Your Sins (LA/ WCE); Let Me Down Easy (NY/ Second Stage)
Remarkable Returns to Shows First Viewed In Prior Years: Memphis (NY); Mary Stuart (NY)
Number of shows attended: 87 (up from 83 last year)
Top 10 breakdown: 2 new musicals, 3 new plays, 5 revivals
2009's Top 10 Acting Performances
1. Jude Law (Hamlet)
2. Ayesha Anoine (My Wonderful Day)
3. Angela Lansbury (A LIttle Night Music)
4. Dearbhla Molloy (Cripple of Inishmaan)
5. Wyatt Fenner (Anita Bryant Died For Your Sins)
6. Thomas Sadowski (reasons to be pretty)
7. Chris Pine (Farragut North)
8. Bobby Steggart (Ragtime)
9. James McMenamin (Our Town)
10. Portia (Ruined)
The Worst in Theater:2009
Happiness (Lincoln Center)- which describes what I would have felt if there was an intermission that would have relieved me from my misery watching this disaster
West Side Story (Broadway)- an anemic, boring production of a show that I previously thought was near indestructible
Pain & The Itch (Boston Court)- the title accurately describes what one feel watching this unpleasant work
Parade (Taper)- illustrated what results when you cast a musical with actors who cannot sing, and it was not pretty
Finian's Rainbow (Broadway)- why?
Fela! (Broaway)- see Finian's Rainbow
Equivocation (Geffen)- nothing equivocal about it; this was one bad production
What Michael Ritchie is doing to LA's Center Group Theater (Ahmanson, Taper & Kirk Douglas)- he is slowly destroying the artistic institution that Gordon Davidson built; the dismantling of a real season at the Kirk Douglas is especially sad
2. Our Town (NY/ Off Broadway) ****
3. Cripple of Inishmaan (NY/ Atlantic Thater) ****
4. Norman Conquests (NY/ Broadway) ****
5. Othello (Seattle/ Theater for New Audience) ****
6. Brother/Sister Plays (NY/Public) ***1/2
7. Ruined (NY/ MTC) ***1/2
8. Farragut North (LA/ Geffen) ***1/2
9. Ragtime (NY/ Broadway)***1/2
10. American Idiot (Berkeley Rep) ***1/2
Honorable Mention: Lydia (Taper/LA); reasons to be pretty (NY/ Broadway); Anita Bryant Died For Your Sins (LA/ WCE); Let Me Down Easy (NY/ Second Stage)
Remarkable Returns to Shows First Viewed In Prior Years: Memphis (NY); Mary Stuart (NY)
Number of shows attended: 87 (up from 83 last year)
Top 10 breakdown: 2 new musicals, 3 new plays, 5 revivals
2009's Top 10 Acting Performances
1. Jude Law (Hamlet)
2. Ayesha Anoine (My Wonderful Day)
3. Angela Lansbury (A LIttle Night Music)
4. Dearbhla Molloy (Cripple of Inishmaan)
5. Wyatt Fenner (Anita Bryant Died For Your Sins)
6. Thomas Sadowski (reasons to be pretty)
7. Chris Pine (Farragut North)
8. Bobby Steggart (Ragtime)
9. James McMenamin (Our Town)
10. Portia (Ruined)
The Worst in Theater:2009
Happiness (Lincoln Center)- which describes what I would have felt if there was an intermission that would have relieved me from my misery watching this disaster
West Side Story (Broadway)- an anemic, boring production of a show that I previously thought was near indestructible
Pain & The Itch (Boston Court)- the title accurately describes what one feel watching this unpleasant work
Parade (Taper)- illustrated what results when you cast a musical with actors who cannot sing, and it was not pretty
Finian's Rainbow (Broadway)- why?
Fela! (Broaway)- see Finian's Rainbow
Equivocation (Geffen)- nothing equivocal about it; this was one bad production
What Michael Ritchie is doing to LA's Center Group Theater (Ahmanson, Taper & Kirk Douglas)- he is slowly destroying the artistic institution that Gordon Davidson built; the dismantling of a real season at the Kirk Douglas is especially sad
Saturday, November 07, 2009
Fall 2009/ NY Theater Report
I saw a wide variety of new theater during several recent trips to New York City this fall. For ease of reference, I will classify them as the Good, the Bad and the Ugly.
First, the GOOD:
The fall has yielded two solid new musical productions, one a new work and the other a revival.
Memphis at the Shubert Theatre is an exciting new musical that portrays the emergence of African American music in 1950's Memphis as the backdrop for a story of a partially fictional white DJ who introduced this new style of music to a general audience. Parts of the show may seem derivative of other shows and the book isn't deep or groundbreaking, but the score, cast and production are enormously entertaining. While the entire cast is great, leads Chad Kimball and Montego Glover give Tony-worthy performances. I have not had as much fun as an audience member at any new musical since "Hairspray." Unquestionably, this is a real crowd-pleaser, but one that I can wholeheartedly recommend.
The Broadway revival of Ragtime is far superior to the original Broadway production of this fine musical in almost every way. This beautifully sung and staged production expertly presents the show's themes, and (unlike the original Broadway production) does not shy away from acknowledging the darker themes of the underlying book and the show itself. While it is true that Quentin Earl Darrington as Colehouse and Stephanie Umoh as Sarah do not have the vocal or acting chops of their roles' originators (Brain Stokes Mitchell and Audra McDonald), they are nevertheless quite good. In addition, Bobby Steggart as "the younger brother" gives a mesmerizing performance that turns a relatively minor role into a key one. The orchestra and group numbers are simply sublime. I cannot image any other revival this year coming even close to the quality of this production.
As for dramas, I highly recommend the Public's The Brother/Sister Plays, a trilogy of related plays set in New Orleans by the exciting young playwright Terell Alvin McCraney. While I preferred Part 2 to Part 1, both Parts are ambitious and exciting theater presented by an outstanding cast. Together with last year's "Wig Out," McCraney is proving to be a major new voice in American theater.
Also in the outstanding acting category is the force-of-nature performance given by Jude Law in the Donmar Warehouse production of Hamlet at Broadhurst. His supporting cast is spotty in terms of quality (only Ron Cook as Polonius comes close to Law's performance), but no matter. This show is all about Hamlet, and Law gives the finest live performance of that role that I have seen. This production only runs through early December; see it soon if you are in NY.
In addition to The Brother/Sister Plays, off-Broadway has several more fine new plays in Broke-ology at Lincoln Center's Newhouse Theater and Let Me Down Easy, Anna Deavere Smith's touching new healthcare focused show at Second Stage. Both are limited runs through early December, so time is running out to see these expertly produced shows.
Now for the BAD:
Sorry folks, but who had the bright idea that Finian's Rainbow was ripe for a revival? Certainly not the creators of the current revival at the St. James Theatre, as this production is dated, dull and flat. Notwithstanding a fine performance by the amazing Jim Norton, there just seems to be no good reason to revive this show. Similar problems of feeling dated befell the now closed production of Neil Simon's Brighton Beach Memoirs. I sat in the audience of this one thinking - why? Apparently, I was not the only one given the show's quick shuttering. Although not dated in the same way, Sarah Ruhl's new play In The Next Room or the vibrator play, also left me wondering - why? It was a pointless exercise that tries but fails at farce or any meaningful social commentary. The only thing interesting about this show is its title.
And finally, the UGLY:
Off Broadway's Circle Mirror Transformation and Fela! at Broadway's O'Neill Theatre were both very painful sits for me. The former was annoying and trite, and Fela! did nothing to earn the exclamation point in its title, failing to provide any coherent narrative while trying to force way too much pointless audience participation. IMHO, you would do well to skip both, despite the fact that some critics will undoubtedly sing the praises of both works for reasons that escape my comprehension.
First, the GOOD:
The fall has yielded two solid new musical productions, one a new work and the other a revival.
Memphis at the Shubert Theatre is an exciting new musical that portrays the emergence of African American music in 1950's Memphis as the backdrop for a story of a partially fictional white DJ who introduced this new style of music to a general audience. Parts of the show may seem derivative of other shows and the book isn't deep or groundbreaking, but the score, cast and production are enormously entertaining. While the entire cast is great, leads Chad Kimball and Montego Glover give Tony-worthy performances. I have not had as much fun as an audience member at any new musical since "Hairspray." Unquestionably, this is a real crowd-pleaser, but one that I can wholeheartedly recommend.
The Broadway revival of Ragtime is far superior to the original Broadway production of this fine musical in almost every way. This beautifully sung and staged production expertly presents the show's themes, and (unlike the original Broadway production) does not shy away from acknowledging the darker themes of the underlying book and the show itself. While it is true that Quentin Earl Darrington as Colehouse and Stephanie Umoh as Sarah do not have the vocal or acting chops of their roles' originators (Brain Stokes Mitchell and Audra McDonald), they are nevertheless quite good. In addition, Bobby Steggart as "the younger brother" gives a mesmerizing performance that turns a relatively minor role into a key one. The orchestra and group numbers are simply sublime. I cannot image any other revival this year coming even close to the quality of this production.
As for dramas, I highly recommend the Public's The Brother/Sister Plays, a trilogy of related plays set in New Orleans by the exciting young playwright Terell Alvin McCraney. While I preferred Part 2 to Part 1, both Parts are ambitious and exciting theater presented by an outstanding cast. Together with last year's "Wig Out," McCraney is proving to be a major new voice in American theater.
Also in the outstanding acting category is the force-of-nature performance given by Jude Law in the Donmar Warehouse production of Hamlet at Broadhurst. His supporting cast is spotty in terms of quality (only Ron Cook as Polonius comes close to Law's performance), but no matter. This show is all about Hamlet, and Law gives the finest live performance of that role that I have seen. This production only runs through early December; see it soon if you are in NY.
In addition to The Brother/Sister Plays, off-Broadway has several more fine new plays in Broke-ology at Lincoln Center's Newhouse Theater and Let Me Down Easy, Anna Deavere Smith's touching new healthcare focused show at Second Stage. Both are limited runs through early December, so time is running out to see these expertly produced shows.
Now for the BAD:
Sorry folks, but who had the bright idea that Finian's Rainbow was ripe for a revival? Certainly not the creators of the current revival at the St. James Theatre, as this production is dated, dull and flat. Notwithstanding a fine performance by the amazing Jim Norton, there just seems to be no good reason to revive this show. Similar problems of feeling dated befell the now closed production of Neil Simon's Brighton Beach Memoirs. I sat in the audience of this one thinking - why? Apparently, I was not the only one given the show's quick shuttering. Although not dated in the same way, Sarah Ruhl's new play In The Next Room or the vibrator play, also left me wondering - why? It was a pointless exercise that tries but fails at farce or any meaningful social commentary. The only thing interesting about this show is its title.
And finally, the UGLY:
Off Broadway's Circle Mirror Transformation and Fela! at Broadway's O'Neill Theatre were both very painful sits for me. The former was annoying and trite, and Fela! did nothing to earn the exclamation point in its title, failing to provide any coherent narrative while trying to force way too much pointless audience participation. IMHO, you would do well to skip both, despite the fact that some critics will undoubtedly sing the praises of both works for reasons that escape my comprehension.
Sunday, August 30, 2009
FALL 2009 THEATER PREVIEW & ANITA BRYANT
Although it will be difficult for the 2009-2010 theater season in New York to come close to the banner prior year, the shows scheduled to open in New York this fall have great promise.
The production that has me most excited are "The Brother/Sister Plays, Parts 1 & 2" at the Public. Authored by the immensely talented young playwright Tarell Alvin McCraney, the three plays offered as two shows begins previews at the Public in late October. McCraney wrote last season's "Wig Out," which was one of the highlights of the prior season for me. From all accounts, these plays build on, and go beyond, that promise.
The other plays that I look forward to in NY this fall include Sarah Ruhl's "In The Next Room (or the vibrator play)," which also begins previews in late October. Ruhl's plays can be hit or miss for me, but the reviews from the Berkeley Rep production of this play suggest this is among her best works to date. I am also looking forward to the nine Horton Foote plays that make up Signature Theater's three-show event "Orphans Home Cycle." The three shows are being introduced over time, and I think I will wait until Spring 2010 to catch one of the few all day marathons.
I also hope to catch Jude Law in Michael Grandage's Donmar Warehouse production of "Hamlet." This will likely be a tough ticket to get if it receives the favorable notices here that it received in London.
On the musical front, one of my favorite shows from last year - "Memphis" is finally finding its way to Broadway. The same two outstanding leads (Chad Kimball & Montego Glover) have been retained from the prior productions, and I am hopeful that the latter part of the second act has been improved. I also hope to finally catch "Fela!," which I missed off-Broadway last year. The revivals of "Ragtime" (from DC's Kennedy Center) and Encore's "Finian's Rainbow" also hold much promise.
I am waiting for more word on "Broke-ology" at Lincoln Center's Newhouse, Anna Deveare Smith's "Let Me Down Easy" at Second Stage, Roundabouts "Ordinary Days," and the David Cromer directed Neil Simon revivals of "Brighton Beach Memoirs" and "Broadway Bound."
The fall does not look nearly as promising on the West Coast due, in part, to retrenchment from the major west coast regionals such as the Center Theater Group. Nevertheless, among the productions that I look forward to seeing are the touring company of "August: Osage County" at the Ahmanson, "Parade" at the Taper, "Equivocation" at the Geffen, Annette Benning's "Medea" at UCLA, The Druid Ireland's "Walworth Farce" and "New Electric Ballroom" both at UCLA, and "Saturn Returns" at South Coast Rep. I am also intrigued by the new Green Day musical "American Idiot" which I will see at Berkely Rep in September. I loved the Green Day album of the same title, but wonder if it will work dramatically. Time will tell.
So, what is with the Anita Bryant in this post's title? That would be a reference to the exciting production of Brian Christopher William's funny and moving "Anita Bryant Died For Your Sins," which is given a sparkling production at West Coast Ensemble's El Centro theater. This show proves how great small venue theater can be. Critical to the show's success is a true star-making perfomance by young actor Wyatt Fenner. Fenner will unquestionably be at the top of many casting agents' lists for his incredible work in this show. I cannot say enough good things about his performance, but the whole cast of the show deserves praise. To those in SoCal, you owe it to yourself to book to this show before it sells out its limited run.
The production that has me most excited are "The Brother/Sister Plays, Parts 1 & 2" at the Public. Authored by the immensely talented young playwright Tarell Alvin McCraney, the three plays offered as two shows begins previews at the Public in late October. McCraney wrote last season's "Wig Out," which was one of the highlights of the prior season for me. From all accounts, these plays build on, and go beyond, that promise.
The other plays that I look forward to in NY this fall include Sarah Ruhl's "In The Next Room (or the vibrator play)," which also begins previews in late October. Ruhl's plays can be hit or miss for me, but the reviews from the Berkeley Rep production of this play suggest this is among her best works to date. I am also looking forward to the nine Horton Foote plays that make up Signature Theater's three-show event "Orphans Home Cycle." The three shows are being introduced over time, and I think I will wait until Spring 2010 to catch one of the few all day marathons.
I also hope to catch Jude Law in Michael Grandage's Donmar Warehouse production of "Hamlet." This will likely be a tough ticket to get if it receives the favorable notices here that it received in London.
On the musical front, one of my favorite shows from last year - "Memphis" is finally finding its way to Broadway. The same two outstanding leads (Chad Kimball & Montego Glover) have been retained from the prior productions, and I am hopeful that the latter part of the second act has been improved. I also hope to finally catch "Fela!," which I missed off-Broadway last year. The revivals of "Ragtime" (from DC's Kennedy Center) and Encore's "Finian's Rainbow" also hold much promise.
I am waiting for more word on "Broke-ology" at Lincoln Center's Newhouse, Anna Deveare Smith's "Let Me Down Easy" at Second Stage, Roundabouts "Ordinary Days," and the David Cromer directed Neil Simon revivals of "Brighton Beach Memoirs" and "Broadway Bound."
The fall does not look nearly as promising on the West Coast due, in part, to retrenchment from the major west coast regionals such as the Center Theater Group. Nevertheless, among the productions that I look forward to seeing are the touring company of "August: Osage County" at the Ahmanson, "Parade" at the Taper, "Equivocation" at the Geffen, Annette Benning's "Medea" at UCLA, The Druid Ireland's "Walworth Farce" and "New Electric Ballroom" both at UCLA, and "Saturn Returns" at South Coast Rep. I am also intrigued by the new Green Day musical "American Idiot" which I will see at Berkely Rep in September. I loved the Green Day album of the same title, but wonder if it will work dramatically. Time will tell.
So, what is with the Anita Bryant in this post's title? That would be a reference to the exciting production of Brian Christopher William's funny and moving "Anita Bryant Died For Your Sins," which is given a sparkling production at West Coast Ensemble's El Centro theater. This show proves how great small venue theater can be. Critical to the show's success is a true star-making perfomance by young actor Wyatt Fenner. Fenner will unquestionably be at the top of many casting agents' lists for his incredible work in this show. I cannot say enough good things about his performance, but the whole cast of the show deserves praise. To those in SoCal, you owe it to yourself to book to this show before it sells out its limited run.
Subscribe to:
Posts (Atom)