Signature's New Home Dazzles; "Salesman" and "Carrie" Fizzle

New York's Off-Broadway gets a amazing new addition in the form of Signature Theatre's new home on 42nd Street between 9th and 10th Avenues.  The Frank Gehry designed space, officially named the Pershing Square Signature Center, is composed of three theaters and a huge common area on the second level of a massive new residential development just a stone's throw from Signature's prior venue.  The complex itself is a huge winner, and the common space shared by the theaters achieves what no other theater space in New York can match - an airy, comfortable, electric pre- and post-show gathering spot.  The closest equivalent space I can think of is London's National Theatre complex.  Bravo to the developers and Signature for having the vision and persistence to make this incredible complex a reality.

How great it is to report that the new productions inaugurating the Signature's grand opening are terrific shows that stay true to the Signature's spirit and mission.  I had the pleasure of seeing Signature's revival of Athol Fugard's searing "Blood Knot" and its premiere of Katori Hall's exciting new "Hurt Village." Both works are expertly directed (the first by Fugard himself, the send by Patricia McGregor) and both feature amazing casts the breathe vigor and excitement into both texts.  At the subsidized bargain of $25 per ticket, it is hard to find a better theater bargain in New York, or anywhere else in the country for that matter.

Elsewhere, the news is not so good.  The Mike Nichols directed revival of Arthur Miller's seminal work "Death of a Salesman," is, plain and simple, a dud.  A miscast dud, with a much too young cast playing most of the show's major roles.  Phillip Seymour Hoffman lacks the range needed for Willy- he can only display confusion and anger, and he wildly vacillates between those two emotions.  Andrew Garfield does not seem to know quite what to do with Biff, and Linda Edmond has nothing much to play off with such miscast male leads.  The supporting cast is much better, but the whole exercise feels dated, lethargic and like a woefully produced college production where everyone is much too young for their roles.  I was hesitant to see this production because the last one I saw (the 1999 revival starring Brian Dennehy) was one of the most moving and devastating experiences I have had in a theater.  Don't be drawn in by the box office draw names above the title of this revival - the show is a bore, not easy to do with such a great work of writing.

The revival of the legendary flop musical "Carrie," is, I am sad to say, also a flop.  Not a flop of embarrassing proportions, just the deadly dull type.  Clearly, "Carrie" should have been left unrevived.

Much more successful was Encore's terrific revival of Sondheim's "Merrily We Roll Along," which was on par with the finest production of that show I have seen, and it featured by far the best second act of that show I have seen.   The refurbished NY City Center which housed the two week "Merrily" run also looks terrific, although the acoustics in that venue need some tweaking.

Not much to report on theater-wise in Los Angeles, except for an intriguing and engaging work from Argentina at the Redcat entitled "El Pasado Es Un Animal Grotesco."  The show featured a revolving multi-roomed circular set on which the talented Spanish speaking cast (the show featured English subtitles) presented this brilliantly conceived rumination on the passage of ten years in the lives of twenty- and thirty-somethings.  Unfortunately its brief multi-day run has ended.

Coming up in the next post - reviews of another Signature show (Albee's "Lady From Dubuque") and the MTC revival of "Wit" starring Cynthia Nixon.

2011 TOP 10 THEATER PRODUCTIONS

1. ONCE (NY/ NYTW) 

2. THE NORMAL HEART (NY/ Broadway) 

3. OTHER DESERT CITIES (NY/ Lincoln Center) 

4. BLOOD AND GIFTS (NY/ Lincoln Center)

5. KIN (NY/ Playwrights Horizons)

6. WINTER'S TALE (NY/Royal Shakespeare Company)

7. KING LEAR (NY/ BAM)

8. THE MOUNTAINTOP (NY/ Broadway)

9. WAR HORSE (NY/ Lincoln Center)

10. BY THE WAY,  MEET VERA STARK (NY/ Second Stage)

Honorable Mention: VENUS IN FUR (NY/ MTC); EXTRAORDINARY CHAMBERS (LA/ Geffen Playhouse); ALL'S WELL THAT ENDS WELL (NY/ Public- Shakespeare in the Park); SLEEP NO MORE (NY/ Off-Broadway); BOOK OF MORMON (NY/ Broadway)

Remarkable Returns to Shows First Viewed In Prior Years: CRIPPLE OF INISHMAAN (LA/ Kirk Douglas); LET ME DOWN EASY (LA/ Broad Stage)

Number of shows attended: 78 

Top 10 breakdown: 1 new musical, 6 new plays, 3 play revivals

2011's Top 10 Acting Performances

1. Cary Mulligan (THROUGH A GLASS DARKLY)

2. Derek Jacobi (KING LEAR)

3. Stockard Channing (OTHER DESERT CITIES)
4. Joe Montello (THE NORMAL HEART)

5. Nina Arianda (VENUS IN FUR)

6. Thomas Sadoski (OTHER DESERT CITIES)

7. Hugh Dancy (VENUS IN FUR)

8. Andre Holland (ALL'S WELL THAT ENDS WELL)

9. Sanaa Lathan (BY THE WAY, MEET VERA STARK)

10. Angela Bassett (THE MOUNTAINTOP)

"Once" Casts a Spell; "Blood And Gifts" is Spellbinding

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.

"Other Desert Cities" and "Venus in Fur" Rise Above Other New Shows

If you see only one play this fall, make it Jon Robin Baitz' terrific Lincoln Center to Broadway transfer of "Other Desert Cities", a fractured family drama that features an impeccable cast and an emotionally resonant plot that in less talented hands could have devolved into soap opera-like bathos. Baitz's play is multilayered and complex, with characters whose flaws make them genuinely human and believable. The less said about the plot the better for those who have not yet experienced the show. Having now seen this show twice, I can attest that knowing how it turns out allows one to see the genius workings of the show's actors and director the second time around.

It is hard to pick a favorite among the "Other Desert Cities" cast. Stockard Channing as the family matriarch gives a career-topping performance. Stacy Keach's was a bit tentative when I saw him in the show's original off-Broadway run, but he has settled nicely into the role and now gives a rock solid reading of his paternal character. Thomas Sadoski's is perfect as the under-achieving brother, and Rachel Griffiths is emotionally devastating as his damaged sister. The biggest surprise for me was Judith Light who improves on her predecessor's (Linda Lavin's) outstanding take as the matriarch's fragile sister. As an ensemble, this superbly directed cast now simply cannot be beat at any show in town.

If you are looking for a second show to see this fall, by all means make it MTC's crackling and funny Broadway production of David Ives' off-Broadway hit "Venus In Fur", another show that is perfectly cast. This two-hander comedy features fantastic performances from both of its stars - Nina Arianda and Hugh Dancy. While the sexy and alluring play may fall a bit short in terms of depth, the production is elevated into a must see by its snappy direction and acting. Ms. Ariana and Mr. Dancy have a palpable chemistry together, and Ms. Arianda's star turn causes the viewer to wonder if she descended from the heavens to play this seemingly tailor made role. Both actors deftly handle the turn-on-a-dime twists and turns in this entertaining cat and mouse sexual chase.

The other new fall productions I have recently seen all offer good things mixed with some serious deficiencies. Broadway comedies "Seminar" and "Chinglish", provide ample laughs, but both suffer from serious credibility shortcomings. New musical "Bonnie & Clyde" feautures oustanding performances by leads Laura Osnes and Jeremy Jordan, but the show's book and score are mediocre and univolving. Despite the fine notices it received, I found Roundabout's "Sons of the Prophet" to be poorly paced and lacking in genuine emotions. Finally, Playwrights Horizons' "Milk Like Sugar" has a fresh and exciting cast pulling the weight for another strained plot. Each of these shows have successful elements that make them worthwhile, but unfortunately their less successful elements preclude me from wholeheartedly recommending them.

"The Mountaintop" Achieves Lofty Goals

In 21st Century America, how does one craft a compelling play featuring Martin Luther King as the main character without falling victim to an earth-bound bio-drama form?  As a task that is very difficult, making young playwright Katori Hall's considerable achievements with "The Mountaintop" on Broadway particularly admirable.  It does not hurt that she has a great cast - Samuel Jackson as MLK and Angela Bassett as a Memphis hotel maid-, and stunning production design by David Gallo to bring her two-hander to life.

The play is set at the Lorraine Motel in Memphis on April 3, 1968, the night before Dr. King was cruelly assassinated.  There is not much one can say about the play's plot without spoiling the play for future viewers, but suffice it to say that the play does not shy away from portraying Dr. King as human, flaws and all.  Some viewers will undoubtedly be turned off by depictions of MLK that include his human frailties, notwithstanding the existence of historical evidence to support some of them.  I fear that such a reaction to this play fails to credit the playwright's skill in powerfully illustrating the awe-inspiring achievements of Dr. King, both in his life and in his legacy.

Ms. Hall's play starts out with the small and pedestrian, and builds like a Mahler symphony to a dramatic and moving crescendo.  Her skillful writing is supported by terrific direction from Kenny Leon, and nothing less than a breathtaking performance by Angela Bassett.  Bassett sets the bar high for her future competitors for the actress Tony award next June.  "The Mountaintop"'s achievements are justly rewarded, for at the performance I saw, the rhapsodic audience response at the curtain call was among the strongest I have ever heard in a theater.

"The Mountaintop" gets the fall theater season in New York off to a rousing start.  Unfortunately, the same cannot be said of two new off-Broadway plays- MCC's "The Submission" and Vineyard's "The Lyons"-  that fall victim to similar failings.  Both plays feature great lead performances (by Jonathan Groff and Linda Lavin, respectively), but both plays end up muddled, with their themes getting lost amidst noxious doings after some promising beginnings.  However the next few months offer a promising list of offerings, many of which I hope to note in future posts.

"Poor Behavior" Triumphs; "Falsettos" is Expertly Revived

After many months of largely slim pickings in terms of offerings, theater in Los Angeles is off to a terrific fall start with several productions now on stage.

First up is a terrific world premiere at the Mark Taper Forum of Theresa Rebeck's outstanding new play "Poor Behavior," which follows two married couples on a visit to a Vermont country home owned by one of them. At first, the play seems a bit like a retread of "God of Carnage," "Dinner With Friends," or countless other plays similarly themed plays. But Ms Rebeck has much more on her mind than any any of those other works, and her play morphs into a funny and thoughtful exploration of weighty ides relating to marriage, fidelity, national identity, morality, trust, and much more. The acting and direction (by Doug Hughes) are superb, with especially noteworthy performances turned in by Johanna Day and Reg Rogers. Part of the appeal of "Poor Behavior" is how it keeps the viewer guessing about what has or will happen, so I will refrain from further describing any of the plot points of this wonderful new play. While up to now the Taper season has been largely disappointing, with this play the Taper rejoins the ranks of regional theaters offering outstanding new works; it a welcome return.

I also highly recommend Third Street Theater's inaugural production, a revival of one of my all-time favorite musicals, "Falsettos." "Falsettos" centers on a man who leaves his wife and son for another man, and explores the formation of nontraditional families who nevertheless exhibit time honored values. Under the deft direction of Richard Israel, one of LA's finest local theater directors, this production gets just about everything right, which is not easy to accomplish with this musical. Chief among the assets of this production is a fine cast, inventive choreography and expert musical direction. The role of the young teen Jason is particularly difficult to cast well, but on that front this production has an ace up its sleeve with the multi-talented Major Cruda, a young actor who gives a perfectly modulated performance. The staging here is so fresh that the show, while set in the early 1990s and written in the early and late 1990s, feels like it was written yesterday. "Falsettos" hold a special place in my heart, and it is a pleasure to report that this production lives un to this show's enormous emotional potential.

Finally, I also enjoyed the Celebration Theatre's revival of the 1993 British play "What's Wrong With Angry." Admittedly, this coming out play set in small town England feels a bit dated and slightly polemic. But the outstanding production (directed by Michael Matthews) enables the show to rise above its limitations as written. Much of the credit for this is due to outstanding lead performances by Daniel Taylor and Miles Heymann, although the entire cast is quite good. If these three shows are any indication of what lies ahead this fall for theater, there will be many more good things to report on here very soon.

Shakespeare Hits; Follies Misses

The highlights of my summer theatergoing this year were productions of two Shakespeare plays that are often considered among his lesser works. First, the Royal Shakespeare Company's New York residency at the Park Armory yielded a pitch-perfect production of "The Winter's Tale." The acting, direction and staging were everything that could be hoped for in a production of this play, which was especially rewarding after I viewed a messy and unfocused RSC "Romeo and Juliet" at the Armory. This "Winter's Tale" had me on the edge of my seat through much of the show, despite the fact that I have seen this play multiple times previously. That is the magic of a great theatrical production.

The other Shakespeare winner was the Public Theater's "All's Well That End Well" in Central Park. This is a difficult play to pull off today, given that many of the central characters are quite unlikeable. No matter, as director Daniel Sullivan knows his way around a difficult Shakespeare play, and he was fortunate to have a skilled cast, with a particularly winning performance by Andre Holland. Although the cast of RSC's "Winter's Tale" set a high mark for performances, the American cast of "All's Well" evidenced that Americans can be fair rivals for their UK acting counterparts when it comes to Shakespeare.

One of the biggest disappointments of the summer was the "Follies" revival now playing at the Marquis Theater after a stint at the Kennedy Center in DC. The cast is talented, but in most roles are miscast here, and the direction is awful. I have only seen one production of "Follies" that worked for me (at the small-scale East West Playhouse in Los Angeles), and it worked because it made me feel deep emotion for the characters on stage. That is hard to do with this show (one of Sondheim's weakest; perhaps someone can one day make big changes to this musical to make it work), and this production did not stir my emotions for one minute. The directoral style of the current production is presentational, and that just does not work for this show, at least not for me. I recommend that you skip this one; I wish I had.

Cambodian Ghosts Haunt Los Angeles Stages

There are two very fine plays playing in Los Angeles right now that have Cambodian-themed plots. Both deal with the remnants of the Khmer Rouge genocide in Cambodia - one set in the Long Beach Cambodian immigrant community circa 2003, and the other set in Phnom Penh in 2008.

"Year Zero" at the Colony Theater in Burbank is the play situated in Long Beach, California. It focuses on a teen brother and twenty-something sister, both dealing with the recent death of their Cambodian-born mother who immigrated to the US after fleeing the ravages of the Khmer Rouge. The sister is a student at Berkeley, and returns home after her mother's death to pack up her things and find a home for her brother. She reunites with a neighbor boy (skillfully played by actor Tim Chiou), which leads to problems with her Berkeley based boyfriend. Much of the tension in this well written drama flows from the unseen mother's scars from her time in Cambodia, and her attempts to protect her children from the tragedies that befell her. Penned by young playwright Michael Golamco, this production displays the considerable talents of this promising scribe and is trenchant and moving. I could note some faults in the direction - scene transitions are too clunky and more urban-sounding music between scenes would be much more appropriate and energetic- but there are so many worthwhile things to be gained from seeing this show that the best I can do is recommend catching it before it closes on July 3.

Coincidentally, another great new play with a Cambodian theme has set up shop (also playing through July 3) at the intimate Skirball Kenis Theater at the Geffen Playhouse. Entitled "Extraordinary Chambers," by David Wiener, this Cambodian-set drama examines an American husband and wife couple who visit Phnom Penh to enable the husband to close a business deal with a Cambodian businessman with lots of questionable behavior in his past. The plotting is intricate and intriguing, although the dialogue is too earth-bound and could use more lyrical flourishes. Nevertheless, the production put together here by director Pam MacKinnon is top-notch and stunning, and the acting is superb.

Seeing both works in close proximity to one another enables one to compare and contrast the plays and obtain deeper meaning from each. In both works, the viewer is forced to confront the dangers that result from suppressing a tragedy laced past. But neither work offers up easy answers to avoid those dangers, and both playwrights display a yearning for their characters to find some form of equilibrium to make life in Long Beach and Phnom Penh endurable in the face tragic past events.

These two terrific plays are among the best works seen on Los Angels stages in recent times. Do yourself a favor and see both.

Finally, a short note on Austin, Texas based troupe Rude Mechs' "The Method Gun" now playing at the Kirk Douglas Theater. This meta-theater exercise had me completely befuddled for the first 75 minutes of its running time. But strangely, almost magically, everything fused together in the beautifully choreographed final minutes of this unique work. This non-linear, at times silly, at times absurd, unique work, is worth catching if you have patience and an open mind on what theater should be.

Tony Awards Musings

This year's Tony Awards broadcast was much better than last year's snore-fest. Returning after a year off as host, Neil Patrick Harris was fantastic again, starting and ending the show with very funny and witty segments.

As for the musical show numbers, "Book of Mormon" and "Anything Goes" came off best, but nothing was amazing. Musical show excerpts that looked awful on television were "Catch Me If You Can" and that dreadful "Spiderman" number (excuse me, why was that number on the show given that the show still has not opened after over 7 unbearable months of previews).

Best acceptance speech of the night - Sutton Foster. Worst acceptance speeches of the night- John Larroquette and all of the War Horse winners (what ever happened to eloquent and classy acceptance speeches from winners from the UK?). Chris Rock was very funny presenting the best musical award.

No huge surprises in terms of winners. I correctly predicted 23 of 26 awards, better than in recent years. The winners list lacking drama, NPH's hosting triumph was all the more critical to the success of the show.

2011 Tony Award Predictions

Here are my Tony Award predictions for this year's awards which will be announced on the June 12 broadcast:

Play: War Horse
Musical: Book of Mormon
Play Revival: The Normal Heart
Musical Revival: Anything Goes

Actor, Play: Mark Rylance, Jerusalem
Actress, Play: Frances McDormand, Good People
Actor, Musical: Josh Gad, Book of Mormon
Actress, Musical: Sutton Foster, Anything Goes
Featured Actor, Play: John Benjamin Hickey, The Normal Heart
Featured Actress, Play: Ellen Barkin, The Normal Heart
Featured Actor, Musical: John Laroquette, How To Succeed
Featured Actress, Musical: Laura Benanti, Women On The Verge

Book of a Musical: Book of Mormon
Score: Book of Mormon
Orchestrations: Book of Mormon
Choreogrpahy: Anything Goes

Director, Play: The Normal Heart
Director, Musical: Book of Mormon

Scenic Design, Play: War Horse
Scenic Design, Musical: Book of Mormon
Costume Design, Play: Importance of Being Earnest
Costume Design, Musical: Priscilla, Queen of the Desert
Lighting, Play: War Horse
Lighting, Musical: Book of Mormon
Sound, Play: War Horse
Sound, Musical: Book of Mormon

If I were choosing the winners, the choices above would differ largely in that I would prefer The Scottsboro Boys to win for Best Musical, Director, Score, Orchestrations, Choreography, Sound and Lighting. But I do not think Scottsboro will win any of those awards, although it has a chance of winning for Score over the Mormon juggernaut. I would probably also give the Best Actor, Play award to Joe Montello for The Normal Heart, although all of the actors in that extremely strong and competitive category deserve to be winners this year. Otherwise, my personal choices largely mirror the above predictions.

Spring Theater Report #4: "Normal Heart" Triumphs; Jacobi Rules "Lear"; "Sleep" Beguiles; "Mother" And "Sister" Surprise; Sutton Does "Anything" and "How To Succeed" Doesn't

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.

Spring Report #3: "War Horse" and "Vera Stark" Dazzle; "Mormon" Tickles

"War Horse" at Lincoln Center, an import from London's National Theatre, provides a visually stunning treat for theatergoers in the form of a somewhat cliché WWI-era story about a young man and his horse. The puppetry, music and staging is often simply breathtaking and leads one to forgive the weaknesses in the story and script. The play works beautifully on the thrust stage of Lincoln Center's Vivian Beaumont Theater, and it is hard to imagine any other theater space being more accommodating to this epic play. I expect "War Horse" will likely win the Tony Award for Best Play, and run for years. Grade: A-

Lynne Nottage's "By The Way, Meet Vera Stark" at off-Broadway's 2nd Stage, has both staging and a script that dazzle with inventiveness and humor. Nottage won a Pulitzer Prize for her last produced play, "Ruined," and the radically different tone and style of "Vera Stark" when compared with "Ruined" leads one to respect and admire Nottage's incredible range. "Vera Stark" focuses on a 1930s era black actress who works as a maid for a famous white actress while seeking her entry into the movie business what becomes of her over the years. It's is funny, smart and very well acted and directed, and particular kudos are in order for the expert cast, led by a true star turn by Sanaa Lathan in the title role. Grade: A-

The South Park duo's (Trey Parker and Matt Stone) new musical "The Book of Mormon" has been getting rave reviews and considerable media attention, resulting in it being THE show to see of the moment. Does it live up to the incredible hype? Not quite, but it is very funny and surprisingly touching at times, and it is staged about as well as possible. The second act is superior to the first, which is usually not the case with satirical musicals. I liked it better than the stylistically similar "The Producers" and "Spamalot," and heck, this one is truly original unlike those other two shows. That alone is worthy of praise. "Mormon" has a virtual lock on the Best Musical Tony, although personally, I would hand that award to the superior "Scottboro Boys" if I were making that call. Grade: B+

The Signature Theatre's revival of Tony Kushner's "Angels in America" provided me with a lifetime theatrical highlight this past fall, so it is with great disappointment that I report that Kushner's new play at the Public, "The Intelligent Homosexual's Guide to Capitalism and Socialism, With a Key To The Scriptures," (aka, "iHo") is an undramatic, excessively verbose and dull play that features unlikable and unbelievable characters about whom I could not muster any interest. A major disappointment. Grade: D

In Los Angeles, I attended the premiere of Tom Jacobson's new play "House of the Rising Son" at the recently opened Atwater Village Theatre. I loved the new theater, but cannot say the same for the play itself. The play is given a slick production, but I found the plot contrivances and characters silly and inorganic. Grade: C

Outstanding "Inishmaan" Closes May 1

If you are in Los Angeles and love great theater, please do not hesitate to get tickets for Martin McDonaugh's terrific play "Cripple of Inishmaan" at the Kirk Douglas theater. The pitch perfect production from Ireland's Druid Theater is unlikely to be surpassed by any other show in Los Angeles this year. It is that good.

Spring Season 2011 Report #2/ "Kin" Connects; "Inishmaan" Captivates

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."

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.