Here's what I liked about "Kinky Boots" on Broadway- absolutely nothing: F

The new Broadway musical "Hands On A Hardbody" could be tighter, but it drew me in, moved me and features some terrific music: B+

Off Broadway Gems Shine In LA

Two of last year's best off-Broadway plays have made their way to Los Angeles and have lost little of their considerable impact in their move westward. Indeed, both are highly recommended current LA area theater offerings if you like your theater probing and unafraid to tackle darker hues.

The David Cromer directed "TRIBES" at the Mark Taper Forum features many of the same cast members as the New York off Broadway production. The play focuses upon a highly dysfunctional British family whose seemingly most functional member is a son who was deaf from birth. That son enters into a romatic relationship with a woman who is hearing but going deaf, and was raised by deaf parents. The play raises a host of weighty themes and issues and features a terrific cast and the same expert direction as its NY predecessor. As much as I enjoyed this show at the cozy Barrow Street Theater in New York, I liked the Taper production even more, as the more elaborate set at the Taper meshed well with the play's inherent rhythms.

"TRIBES" is certain to be one of the best plays and productions Los Angeles will see this year, and I encourage you to see it before it closes on April 14.

The other recent outstanding off Broadway play that I just revisited is the entirely new production of Samuel D. Hunter's "THE WHALE" at South Coast Rep. The play features a grossly overweight man who is essentially eating himself to death. The play repeatedly subverts expectations and challenges common assumptions, in ways that are moving and illuminating. The play demands an incredible commitment and emotional investment by the actor playing Charlie, the larger than life lead character.  If Matthew Arkin does not quite reach the heights of Shuler Hensley's performance at NY's Playwrights Horizons, he brings a softer, gentler take to the role that is highly effective.

"THE WHALE" may not be for everyone (the Orange Country matron sitting next to me in the theater exclaimed out loud mid-performance that this was the worst play she has ever seen), but for theatergoers who like layered and challenging works that do not shy away from the darker elements of the human condition, this play is likely a good one for you.

Two well produced, nuanced and engaging plays in major regional theaters that are simultaneously playing in the LA area and are highly recommended. How refreshing. I hope it is a trend.

2012 TOP 10 THEATER

1. WHO'S AFRAID OF VIRGINIA WOOLF? (NY/ Broadway)
2. THE PIANO LESSON (NY/ Signature)
3. BIG MEAL (NY/ Playwrights Horizons)
4. THE WHALE (NY/ Playwrights Horizons)
5. THE WHITE SNAKE (SF/ Berkeley Rep)
6. PETER & THE STARCATCHER (NY/ Broadway)
7. TRIBES (NY/ Off Broadway)
8. THE CONVERT (LA/ Center Theater Group)
9. INTO THE WOODS (NY/ Public)
10. GOOD PEOPLE (LA/ Geffen Playhouse)

Honorable Mention: IN THE RED AND BROWN WATER (LA/ Fountain Theater); AS YOU LIKE IT (NY/ Public)

Remarkable Returns to Shows First Viewed In Prior Years: ONCE (NY/ Broadway); RED (LA/ Center Theater Group)

Number of shows attended: 74

Top 10 breakdown: 0 new musicals, 7 new plays, 3 revivals

2011's Top Acting Performances
Shuler Hensley in THE WHALE; Tracy Letts & Amy Morton in WHO'S AFRAID OF VIRGINIA WOOLF?; Chuck Cooper in "THE PIANO LESSON"; John Hurt in KRAPP'S LAST TAPE

Fall 2012 Theater: Diamonds in the Rough

Thus far, the fall theater season has been fairly lackluster, with just one bright spot on Broadway, a few gems off-Broadway, and several notable winners in Los Angeles.

First, the only new production on Broadway that I can highly recommend is the fresh, invigorating Steppenwolf Theater production of "Who's Afraid of Virginia Woolf?" starring the perfectly matched Tracy Letts and Amy Morton. This is by far the best production of this play I have seen, and it makes Albee's masterpiece feel like something written just yesterday. Letts and Morton, guided by Pam Mackinnon's pitch-perfect direction, reveal a psychological subtext to George and Martha that I had never before witnessed. This is by far the best new production on Broadway, and nothing else I have seen thus far on Broadway this fall comes even close.

New York's off-Broadway scene offers two more excellent productions, one a new work and the other a revival. The new work is the dark and challenging "The Whale" at Playwrights Horizons. Playwright Samuel Hunter shows a knack for finding humor and compassion amidst dark circumstances, and instills his viewer with compassion for the main character who is essentially overeating himself to death. It sounds odd, but great writing combined with a stunning performance by Shuler Hensley in the lead role make it all work. At the end of the performance I saw, the audience was visibly and audibly stunned.

Signature Theatre has another winner in its touching and perfectly cast revival of August Wilson's "The Piano Lesson," expertly directed by Ruben Santiago Hudson. This production mines the humor and poetry abundant in this play, which I had always liked, but had never found to be one of Wilson's finest until I saw this revival. While the entire ensemble cast is outstanding, the work of Brandon Dirden as Boy Willie and Chuck Cooper as Wining Boy are worthy of special note. Both give deeply moving portrayals of two of Wilson's most interesting characters, and both give a special lift to this sterling revival.

The best of fall theater in Los Angeles was evident in two works from the two current playwrights who are my favorite contemporary play writers - Lynn Nottage and Tarell Alvin McCraney. Ms. Nottage was well represented by the Geffen Playhouse's production of the funny and moving "By The Way Meet Vera Stark." I found this production to be even better than its Second Stage premiere in New York, although both mountings featured the luminous Sanaa Lathan in the title role. Mr. McCraney's bold and poetic "In The Red And Brown Water," one of the Brother/Sister trilogy plays, is being given a spirited and musical spin at the Fountain Theater. Anchoring the fine cast is Diarra Kilpatrick in the lead role. I have seen three actresses play this role to date, and Ms. Kilpatrick has been the best of the three. She breathes a unique spirit into this fantastic and incisive play from this young and talented playwright who has not hit a false note to date.

Finally, a quite note to recommend the finest movies I have seen this fall - "the perks of being a wallflower," "Argo," and "Silver Linings Playbook." Three very different films, and all three well worth a viewing.

"Red" Shines @ The Taper

It has been too long since I have unreservedly recommended a play performing in the Los Angeles area. The wait is over with the Mark Taper Forum's presentation Donmar Warehouse production of John Logan's "Red," which depicts a brief time in the late 1950's career of painter Mark Rothko.

Everything about this production, which I first saw during its Broadway run, is superlative. The production- from Michael Grandage's direction, to the set, to the sound, to the lighting is superlative. When I first saw this play in New York, I thought perhaps the production outshined Logan's writing, but on second viewing I am even more taken with the play itself. It takes on many weighty themes- art, commerce, commerce and art (especially timely given the fights going on over at MOCA these days), mentorships, celebrity, excess wealth, mental health and more. Whew- can any play do any justice to such varied themes in one 90 minute show? It is to Logan's credit that his play, supplemented by Rothko's art, handles these themes deftly and intelligently without seeming facile or false.

As in the London and New York mountings of this play, Alfred Molina is nothing short of outstanding as Mark Rothko. And in an upgrade of the prior versions of this show, the Taper has cast Jonathan Groff as Rothko's assistant, and he is a major improvement over his predecessor that I saw in that role (Eddie Redmayne). Groff convincingly plays a young artist who is able to equal Molina in the key moments of the show, something I felt Redmayne could not do. Now both actors cast in the show are giving stunning performances.

After I saw "Red" the first time, I felt I had gained a new appreciation and understanding of Rothko's paintings. The next Rothko painting I saw gained more depth the longer I looked at it. I am happy to report that this is how I now feel about this wise and moving play. "Red" plays the Taper through September 9- don't miss it.

A quick note about my last trip to New York, on which I saw Sydney Theater Company revival of Chekhov's "Uncle Vanya," featuring Cate Blanchett. The estimable translation and star turn by Ms. Blanchett made this an "Uncle Vanya" to enjoy and savor. I also enjoyed the play "Slowgirl" which premiered the great new small LC3 space built on the roof of the existing Lincoln Center theater complex. Sadly, both productions have closed.

A TALE OF TWO MUSICALS & "TRIBES"

My personal preference in musicals is generally for shows that are subtly engaging rather than those that are large and loud. That distinction and my preference are well illustrated by my reaction to two new Broadway musicals that I visited on the same day last week.

The first show I attended was the new Disney musical NEWSIES, which is based on the failed musical film of the same name. It is almost an understatement to say that this show insists on bludgeoning its viewers over the head with its relentless perkiness. And to be fair, it is not a bad show, it features several well staged musical numbers, and has a real star (Jeremy Jordan) in the lead role. But in its overeager quest to entertain, the show loses any genuine heart or emotion, and its overused musical genre cliches make the whole endeaseems eel like a paint-by-numbers musical devoid of feeling. In the interest of full disclosure, I must note that the overwhelming majority of the audience at the "Newsies" performance I attended were vocally ecstatic over this show, and this show will likely be a popular hit. But I cannot recommend a show that does not make me feel anything beyond manipulated.

In stark contrast is the second of the two shows I saw that day, a return visit to the gentle, subtle and emotionally moving ONCE, which is also based on the movie of the same name. Having seen and loved the off-Broadway iteration of this show at the New York Theater Workshop, I must admit to a sense of trepidation about how the show would fare in a larger Broadway house. Indeed, much of the show's charm is in its quietly drawing you in to care about the characters and rather simple story being told on stage. That is difficult to pull off on a larger Broadway stage. However, much to my surprise, on Broadway "Once" is even better. The actors have grown in their roles and interpersonal connections, the book by Edna Walsh holds up on a larger stage, the songs sound magnificent in the new venue (kudos to Clive Goodwin's impeccable sound design) and it all meshes nicely together. All in all, this is my favorite new Broadway musical in years, and it is by far the best musical playing on Broadway right now.

Finally, there is another new off-Broadway drama well worth a visit now playing at the Barrow St. Theater in the West Village, entitled TRIBES. "Tribes" is written by young British playwright Nina Raine and extremely well directed by the terrific David Cromer. "Tribes" takes on the well worn theme of exploring the "outsider" of a dysfunctional family unit, but the unique twist here is that the outsider in this case is the sole deaf member of the family (sensitively played with great attention to nuance by Russell Harvard). The acting and staging are precise and perfect, and it is hard to imagine a finer production of this play. While the play itself is not quite as good as another off-Broadway drama that I reported on in my last post ("The Big Meal" at Playwrights Horizons), the current existence of both fine dramas on New York stages is a hopeful sign for serious and engaging dramas by up and coming playwrights.

"The Big Meal" is very satisfying; "Wit" and "Dubuque" also well worth a visit

Three plays now running in New York deftly tackle the biggest questions in life. Love, family and death are the primary ideas explored in the terrific new Playwrights Horizons play The Big Meal. Death returns as the main theme in Signature Theater's expertly cast revival of Edward Albee's The Lady From Dubuque, and Manhattan Theater Club's Broadway revival of Margaret Edson's Pulitzer Prize winning Wit. All three plays feature great casts and are well worth a visit.

The most exciting and fresh of these offerings is the new play in the bunch- The Big Meal which is a uniquely structured look at the history of three generations of a family. Interestingly, each character is played by multiple actors at different ages ranging from childhood (in many cases) to old age. To explain the conceit further would make the play sound too complicated and confusing, but as expertly directed by Sam Gold and his terrific cast, everything rings clear and emotionally true. I am in awe of playwright Dan LeFranc's ability in less than 90 minutes to both chronicle a long familial history while keeping each character and their traits clearly and sharply portrayed. The whole cast is outstanding, but the performances of Anita Gillette and Jennifer Mudge are particularly solid and worthy of note. I am hopeful that the reviews in New York will match the great notices that this play received in Chicago, and that this production has a life longer than its brief run in the smaller theater at Playwrights Horizons where it is currently playing. I also eagerly await the next play from this drama's exciting playwright.

Wit the Pulitzer Prize winning drama that focuses on the end of life issues faced by a poetry teacher/scholar, is on Broadway for the first time in the MTC revival that stars the enormously talented actress Cynthia Nixon. I have seen this play numerous times, including its original production at South Coast Rep and the outstanding NY off-Broadway production that started the formidable Kathleen Chalfant. The tone of the current production is a little off, overly highlighting the humor in the play. Before seeing the show, and even in its first few minutes, I also worried that Cynthia Nixon might not be able to convincingly play a tough as nails university professor faced with her rapidly encroaching mortality. But Ms. Nixon gives such an emotional true and deeply felt performance, that she won me over to her portrayal which added new layers to the play. This is a performance that should not be missed.

Death essentially plays a character (or two) in Signature Theatre's engaging revival of Edward Albee's late 1970s commercial flop, The Lady From Dubuque. Signature wisely enlisted the great actress (and former NEA head) Jane Alexander to play the "Lady" mentioned in the play's title, and further cast the entire production with a skilled group of actors that expertly navigate the absurdist edges of Albee's work. I admired the cast more than the play itself (which tends to drag a bit in the first act that screams out for some editing), but the play itself is nevertheless interesting, daring and thought provoking.

Visiting the Signature Theatre's new multi-stage home on 42nd Street for the second time in the past month, I was again struck by what an amazing accomplishment Signature has achieved in the form of its new venue. Waiting in the generous shared common area for "Dubuque" to begin, the diversity and energy of the theater going crowd Signature has attracted left me thrilled and excited for the future of off Broadway theater in New York. Kudos to Signature and it's funders for a job extremely well done. I cannot wait to visit again soon.

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.