The Mistaken Country

There is something about the lure of the unknown that will turn men into adventurers.

James Riordan in "Donogoo" by Jules Romains. Directed
by Gus Kaikkonen
at The Mint. Photo: Richard Termine

"Donogoo," at the Mint Theater through July 27th, is a tale of greed, mistaken geography, and the triumph of the imagination. Jules Romains' delightful play originally opened in 1930 to great acclaim, saving the floundering Théâtre Pigalle from dissolution. 

Land speculation, gold fever, all roads lead to Donogoo Tonka, an error that turns into a scam. Benin (the superb Mitch Greenberg) plucks a suicidal Lamendin (James Riordan, who is fantastic) back to life. At the direction of the quack psychologist Miguel Rufesque (George Morfogen) to whom Benin sends him, Lamendin seeks out a stranger,  Le Trouhadec (the ever versatile Morfogen again), a disgraced geographer, to assist.




Le Trouhadec's discovery, the lost city of Donogoo Tonka  may not exist. Lamendin sees an opportunity.With the help of a questionably honest banker, Margajat (Ross Bickell in top form), Lamendin forms a stock company to develop the mineral-rich city and its environs. Shareholders (Megan Robinson, playing all the women in the play, and Kraig Swartz, among them) begin to question the existence of Donogoo, but prospectors have already begun to turn the fiction into a reality.Le Trouhadec is vindicated.

The translation by Gus Kaikkonen, who also directs with a deft delicacy, is impeccable and elegant. The applause the sets, by Roger Hanna, and special effects, by Hanna with Price Johnston, elicit are well-merited. The exceptional ensemble are all in perfect step, doing justice to the material's subtle and satiric humor. Among these standouts, Scott Thomas as Joseph, the sensible pioneer, catches the eye.

"Donogoo" is seriously funny, with a sharp and sincere wit. And this production is terrific.
The Mint Theater doesn't just "find lost plays," it uncovers their relevance.

For tickets and to learn more about "Donogoo," visit The Mint's website.

Location, location... It's a drag!

The vagaries of real estate seems such a New Yorker's obsession.

Keira Keeley, Charles Busch, Julie Halston, Mary Bacon and Jonathan Walker in the Primary Stages production
of "The Tribute Artist" © 2014 James Leynse.

In Charles Busch's latest ouevre, "The Tribute Artist," in a Primary Stages production at 59E59 Theaters through March 16th, the real estate is a Greenwich Village townhouse.

The expansive and elegant set, by Anna Louizos, is a grand and dignified persona. The other characters do not fare as well. The live action is marred by improbability, admittedly often very funny, and a slow pace.

Cynthia Harris in the Primary Stages production of "The Tribute Artist" © 2014 James Leynse.

Treading the fine lines between drag queen/female impersonator/and down-and out "celebrity tribute" artist, Jimmy (Charles Busch) seizes a foolproof opportunity. Jimmy's unwarranted optimism lends both fizz and fizzle to playwright Busch's comedy. His friend, Rita (Julie Halston) joins him in a scheme to impersonate Adriana (Cynthia Harris); Adriana was Jimmy's landlady in the beautiful old house, who died in her sleep during a night of carrousing with Rita and Jimmy. 

Julie Haston in the Primary Stages production
of "The Tribute Artist" © 2014 James Leynse.

Halston, a long-time Busch actor and collaborator, and Busch have a natural chemistry and ease. What could go wrong, Jimmy asks? The plot's twists make for many a merry surprise.

Enter Adriana's niece by marriage, Christina (Mary Bacon) and her transgender daughter, Oliver (formerly Rachel) (Keira Keeley), wth a claim on the property. Oliver, ever the romantic, hunts up an old flame of Adriana's on Facebook and hence, enter Rodney (Jonathan Walker.)  Highlights of the producton include an exit scene Busch has written for Rodney, and the fact that young Oliver-Rachel can curse like a stevedore on steroids.

The unrelenting zany in "The Tribute Artist" has some wonderful moments, and some predictible. Don't fault the cast or director Carl Andress for any lulls in the party; sometimes the zany just falls flat.

It's always a pleasure seeing both sides of Busch-- ingenuous actor, inventive playwright. Unfortunately in "The Tribute Artist," Busch the playwright does not do Charles Busch, the actor, justice.
(See also Tamara's Tumblr for additional commentary.)

To learn more about "The Tribute Artist," please visit http://www.primarystages.org/

Shakespeare, Houdini, and 50 Shades....Coming in February and March 2014

http://www.axiscompany.org/

Do you have a favorite Shakespeare play? Maybe one in each category -- tragedy, comedy, history like that?

Twelfth Night or What You Will is always fun, and Pig Iron Theatre Company aims to make it even more loveable in their accessible production, beginning February 4th at the Abrons Center. A Balkanized musical score seems like the perfect backdrop to Shakespeare's crazy mistaken-identity saga.

"Experimental theater is about opening up new ways of seeing," says Pig Iron's director Dan Rothernberg; "could we sneak this into a Shakespeare play without deconstructing the thing? All our experiments with clown theater, with cabaret, and with dance theater inform the way people speak and move in this production, resulting in a rough, wholly American Twelfth Night." This production of Twelfth Night premiered at the 2011 Philadelphia LiveArts Festival and was recently revived for Philadelphia’s 2013 FringeArts Festival.

For more information, please visit abronsartscenter.org  But wait, there's more....

While "Twelfth Night" easily qualifies as a favorite comedy, "King Lear" has to be this writer's most beloved Shakespearean play. There is a production of the tragedy, we are told, currently at BAM, with no less a Lear than Frank Langella. You can catch it through February 9th.

For information, visit http://www.bam.org/theater/2014/king-lear.

Shakespeare, as befits an artist working under Royal patronage, wrote many a histoy of Kings. "Henry IV, Part II" is being presented at The Pearl as a special event from February 13th through 16th. The readings are in collaboration with The Shakespeare Society. More at The Pearl 

More happenings in February....

If you have been swept into the mania for "Fifty Shades of Grey," you should pay a visit to 50 Shades! the Musical - The Original Parody. In this musical, a book club's three girlfriends turn from the usual fare to the more titilating best seller. With their interest piqued, Christian and Anastasia's affiair comes to life on the stage. Directed by Al Samuels, one of the many co-writers, and Rob Lindley, previews begin on February 21st at the Elektra Theatre, and 50 Shades! for a March 12th opening.

For more about 50 Shades!, go to 50ShadesTheMusical.com

The Wild Project has a "Shades of Love" series of poetic readings in February, from the 3rd through the 16th. Poetic License 2014: Shades of Love  is Produced by Poetic Theater Productions and features work from both emerging and established poets, including Mahogany L. Browne, Yadira De La Riva, Judith Sloan, Craig muMs Grant (HBO’s “Oz”), Staceyann Chin (Russell Simmons Def Poetry Jam on Broadway) and the presentation of an original theatrical work by the legendary Ntozake Shange (for colored girls who have considered suicide when the rainbow is enuf). The festival also includes a performance from the renowned music group The Mighty Third Rail.

Learn more by going to www.thewildproject.com

And, not necessarily in honor of Valentine's Day...

Randy Sharp delves into the mysteries of Henry Houdini at the Axis Theatre in Nothing on Earth, opening on February 27th for a 2 month run. Sharp, the Artisitc Director at the Axis, has been directing plays for  30 years, most recently the Drama Desk nominated Last Man Club.

For this production, Axis Company worked closely with William Kalush, Executive Director of the Conjuring Arts Research Center, Houdini scholar, and author of The Secret Life of Houdini, to re-create some of Houdini's most famous illusions.

To learn more about Nothing on Earth, please visit www.axiscompany.org.

The Incidental Racist: "Honky" at Urban Stages

Existential crises come in varied forms.

There may be medical cures for many of them.

Kid 1 and 2 ( Reynaldo Pinella and DeLance Minefee) approach Davis (Philip Callen) on a subway platform in a scene from "Honky" by Greg Kellares at Urban Stages. Photo by Ben Hider.

For Peter (Dave Droxler), being white is the major embarrassment. White guilt, straight-out racism, both white and black, all rear their ugly little heads in "Honky." As each pops up, "Honky" blows it up and shoots it down.

Here is a comedy for the post-racial age. Until that comes to pass, "Honky" uses the tropes of advertising and marketing, in which profiling is professionally de rigueur. "Honky" explodes myths and slurs in a soft sell with a hard edge.

Emilia (Arie Bianca Thompson) counsels Peter (David Droxler) in a scene from "Honky" by Greg Kellares at Urban Stages through November 17th. Photo by Ben Hider.

Advertisers target their markets by demographics of lifestyle, income, race, something many of us prefer not to have our police do. In "Honky," the product is the SkyMax basketball shoe, designed by Thomas (Anthony Gaskins.) The SkyMax in it's various iterations aims to sell to "urban" youth, "code for black," the company's president, Davis (Philip Callen) freely admits.

Andie (Danielle Faitelson) meets Thomas (Anthony Gaskins) at a SkyMax party in a scene from "Honky" by Greg Kellares at Urban Stages through November 17th. Photo by Ben Hider.

While Peter goes to Emilia (Arie Bianca Thompson) for therapy to cure his guilt over an ad he created for the shoe, her brother Thomas beds Peter's girlfriend, Andie (Danielle Faitelson) to cure his own guilt and rage. Davis goes to Dr. Driscoll (Scott Barrow) for a cure that will save his job.

Greg Kellares, the ex-ad man who wrote this intelligent and serious comedy, takes aim at some of our society's most sensitive spots. Consumerism is another of his well-chosen targets in "Honky." The cast, led by Anthony Gaskins' conflicted hero, Thomas, and Peter Callen's unapologetic Davis, as well as the superlative Arie Bianca Thompson, is all first rate. Luke Harlan's gentle touch gives tribute to the subtle perspicacity of the script he's directing.

"Honky" is an amazingly insightful look at race, marketing, advertising, stereotyping and Dostoyevsky.

The 80 seat theater will fill up fast, so please go to http://urbanstages.org/honky to learn more about "Honky." 

Nothing "old hat" about "Old hats"

There are times when there is nothing better than to be proven wrong. Pantomime and slapstick are two genres of comedy that have always left this reviewer unimpressed.

"Old Hats," at Signature Theatre's new Pershing Square Signature Center,  already extended through April 14th,  is a hilarious array of vignettes which tickled every funny bone in my body.

Photo by Gregory Costanzo. Bill Irwin and David  Shiner in "Old Hats," directed by Tina Landau
and featuring Nellie McKay.

David Shiner and Bill Irwin are the brilliant clowns and playwrights for this original theater piece. Nellie McKay contributes her skills as narrator, music director, composer, pianist, cellist and ukeleist to the entertainment. Nellie McKay sings and dances, to the able accompaniment of her band of merry men--
Alexi david on bass, Mike Dobson on percussions, Tivon Pennicott playing sax and flute, and Kenneth Salters on drums and assisting as the bartender in the "Cowboy Cinema" segment of "Old Hats."

There is foolishness a plenty, and audience participation, in the above mentioned "Cowboy Cinema" and in the marvellous "A Magic Act," for which Irwin gets to don a dress and show off his legs.

"Old Hats" will appeal to even the curmudgeons among us, as attested to by my delight in the program.

For more information about "Old Hats," please  visit www.signaturetheatre.org/

It's "All In The Timing"

The cast of ALL IN THE TIMING, CARSON ELROD, JENN HARRIS, MATTHEW SALDIVAR, LIV ROOTH and ERIC CLEM seated: 
director JOHN RANDO (left) and playwright DAVID IVES. photo © 2013 James Leynse.

Who is it that said "In comedy, as in life, it's all in the timing?"

Whoever it was, David Ives is on board at any rate with his 6 short playlets, "All In The Timing," in a Primary Stages revival at 59E59 Theaters through March 17. In its premier in 1993, this packet of one act comedies was hailed as masterly.

(l-r) MATTHEW SALDIVAR, LIV ROOTH and CARSON ELROD in the PRIMARY STAGES 20th anniversary production of ALL IN THE TIMING. photo © 2013 James Leynse.

Unfortunately, mere zaniness does not guarantee hilarity  Several of these sketches fall flat. Some contain the germ of a laugh; these are merely based on a funny premise Others are too tedious or too precious. Happily,  a couple are truly wonderful. All six of these one-acters are very off-beat.  A cafe pick up in "Sure Thing" runs through all the permutations of a flirtation in rapid fire.

 

(l-r) LIV ROOTH and CARSON ELROD in the PRIMARY STAGES 20th anniversary production of ALL IN THE TIMING. photo © 2013 James Leynse.

"The Philadelphia" hits a high-point on this-- or admittedly, any-- program. It's at a fine tuneed level of absurdism.

 Ives coul d not have found a better cast to deliver this material. Carson Elrod does pratfalls and "tongue stoppers" with equal grace. Each fall and every syllable he delivers is a surprise no matter the set-up. In "The Universal Language," Jenn Harris's verbal slapstick is as screamingly funny as Elrod's physical falls.

The theme of time and timing is cleverly picked up in the set design by Beowulf Boritt, who uses six different genres of clock to illustrate each skit. John Rando's quick-paced direction respects the spirit of silliness in "All In The Timing."

For more information about "All In The Timing," please visit www.primarystages.org.

So so "...Jews"

Sometimes "bad" is a not so much a pejorative as a relative term.

Definitions of bad abound in "Bad Jews," Joshua Harmon's new play at the Roundabout's Underground Black Box Theatre at  the Harold and Miriam Steinberg Center for Theatre through December 30th.

Philip Ettinger as Jonah Haber, Tracee Chimo as his cousin Daphna Feygenbaum, and Molly Ranson as Melody
in "Bad Jews." Photo by Joan Marcus.

In "Bad Jews," the judge of who and what is bad is Daphna (Tracee Chimo), one of the cousins gathering in the family's Upper West Side studio after their grandfather's death.Daphna feels that her dedication to her Jewishness entitles her, of all the cousins, to inherit the Chai necklace he wore in commemoration of his survival during the  Holocaust.

Molly Ranson as Melody and Michael Zegen as Liam Haber in  "Bad Jews."  Photo by Joan Marcus.

Tracee Chimo- a weak link in Harvey, mordantly funny in Bachlorette-- is at the top of her game again in "Bad Jews." Daphna, as she plays her, finds all the soft spots and then pushes until the object of her probes is on the verge of strangling her. In   "Bad Jews," Daphna  browbeats not only her cousins, Jonah  (Philip Ettinger) and Liam Haber (Michael Zegen) but also Liam's non-Jewish girlfriend, Melody (Molly Ranson).

The weakness in "Bad Jews" is in the script, which relies too heavily on the knowing pause, and the obvious laugh-line. "Bad Jews" lacks  a substantial plot to carry it from "so so" to "ah-- very good!"

For more information on "Bad Jews," visit http://www.roundabouttheatre.org/.

"Figaro" Gets Married

Smart and funny always makes for a good time.

"Figaro," at the Pearl Theatre extended through December 2nd,   is the very smart and very funny marriage of Beaumarchais and playwright Charles Morey. Witty and well-paced, "Figaro" is full of all the complications created by Pierre Caron de Beaumarchais in his 1778 play, "Le mariage de Figaro" and some ultra-modern solutions offered by Morey.

Photo by Jack J. Goldberg. Figaro (Sean McNall) shaves Count Almaviva (Chris Mixon) in The Pearl's "Figaro" 

There are many obstacles in the way before Figaro (Sean McNall) and Suzanne (Jolly Abraham) can get married. Their employer and patron who must sign the marriage banns, Count Almaviva (Chris Mixon),  is a randy fellow who has made Suzanne a project of his affections.

Photo by Jack J. Goldberg. Marcelline (Robin Leslie Brown), Dr. Bartholo (Dan Daily), The Count (Chris Mixon), The Countess (Joey Parsons), and Figaro (Sean McNall) in The Pearl's "Figaro" 

Figaro is both hero and narrator, engaging the audience as he explains his backstory. He makes allusions to his stint as "The Barber of Seville" as well as to Mozart's version of "The Marriage of Figaro."   His political and social commentary has a very contemporary feel.

"Figaro" features stock characters that are not stick figures but beautifully fleshed out. Broad and charming comedy is the calling card of this entertaining production. Expertly directed by Hal Brooks, the actors do an excellent job. Sean McNall is so comfortable as Figaro that he makes us all feel at home. He has what can only be called an iridescent charm. Jolly Abraham is a fetching Suzanne, aided by the clever Countess (Joey Parsons) in making the little subplots unravel hilariously. Chris Mixon's comic timing is superb; he is at once cadgy and clueless.

For more informaton or tickets for "Figaro,"    visit www.pearltheatre.org

ENEMIES OF THE PEOPLE

Two very different civic-minded plays shed light on our societal woes. Both of them are more than slightly cynical about democracy and its discontents.

Actually there is a third, "Disgraced" but more on that later and below.

“Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them,” at Second Stage Theatre through  November 4th, is a quirky and off-beat comedy tackling an extremely tricky subject.

“An Enemy of the People,” by Henrik Ibsen via adapter Rebecca Lenkiewicz, in a Manhattan Theater Club production at the Samuel J. Friedman Theatre through November 11th, is a sincere diatribe.

Boyd Gaines as Dr. Thomas Stockmann and Richard Thomas as his brother, Mayor Peter Stockmann  in "An Enemy of the People." Photo by Joan Marcus.

Unlike “Modern Terrorism,” which, despite its silly premise and over-the-top slapstick and banter, is coherent, “An Enemy of the People” is a total muddle. The civic dialogue  “An Enemy of the People” purports to hold teeters between anti-populism and democratic idealism. 

  Nitya Vidyasagar as Yalda with Steven Boyer as Jerome Photo by Joan Marcus. 

Terrorists, of course, are scare-mongers bent on destruction through fear.  In “Modern Terrorism,” the terrorists are merely people who see the world differently than we do. There is a danger of underestimating one's enemy, of course. Or perhaps, it's disarming to look at the feared, reviled and frightening as ordinary folk. The cell in “Modern Terrorism,”  run by Qala (William Jackson Harper) are the Keystone Kops of terror.  As Jerome, the American who lives upstairs asks  "Why are you so hell-bent on destroying the US, when it's doing is so well on its own?  

William Jackson Harper as Qala with Utkarsh Ambudkar as Rahim
Photo by Joan Marcus from "Modern Terrorism."

Rahim (Utkarsh Ambudkar), the designated martyr, is chosen for his boyish naïveté.  He wants to fit in, and be "chill." Denied the chance to be just one of the gang in his college, he throws in with Qala and Yalda (Nitya Vidyasagar). Accustomed to not meeting expectations, Rahim accepts Qala's and Yalda's disappointment in him resignedly. 

While there is a clarity of vision and even some compassion in “Modern Terrorism,” “An Enemy of the People” lacks a compelling narrative. 

There is no subtlety in this “An Enemy of the People.” It's all silk-hatted villainy

and shouting. Bombast and bluster further muddle an already muddled and somewhat uninteresting, if timely, plot. Hints of the current debate about fracking are peeking out of
Lenkiewicz's adaptation. Mayor Peter Stockmann (Richard Thomas) has a perrenial smirk that stands in for mustache-twirling. The noise of its screaming is not the only thing that condenms  “An Enemy of the People.”

Producing this modernized version of Ibsen's play seeks to capitalize on the political silly season.  Dr. Thomas Stockmann (Boyd Gaines) is at odds with his  brother the Mayor. His desire to save the town in which he was born is overwhelmed by a cynicism. He calls  liberals and populists, those who rule and the majority who allow themselves to be ruled to the carpet.   If the honest man is alone, as Dr. Stockmann seems to think, is  democracy also on the carpet?

Photo by Erin Baiano. Karen Pittman, Erik Jensen, Heidi Armbruster and Aasif Mandvi in "Disgraced."

Unfortunately, even the usually superb Boyd Gaines is swallowed up in the noise and fury of 
"An Enemy of the People." The stand out in the cast is Gerry Bamman as the printer, Aslaksen, whose bourgeois interests overwhelm his sense of right.

In “Modern Terrorism,” the geo-political is seriously funny and darkly sad. The small cast are all excellent. Stephen Boyer's slacker Jerome, William Jackson Harper as Qala, the self-important leader are both wonderfully played. Utkarsh Ambudkar gives us a complicated and sweet Rahim. Nitya Vidyasagarplays Yalda as a young modern woman, whose disappointments fuel her anger.

Sometimes ethnic history is a minefield, and in "Disgraced," a new play by Ayad Akhtar, at LCT3's Claire Tow Theater  extended through December 2nd, the sensitive and even touchy matters of identity are explored in serious and unexpected ways. 

Amir (Aasif Mandvi) and Emily (Heidi Armbruster) are a happy and prosperous couple. He is a forceful and intelligent corporate attorney. He is uncomfortable with the fact that she paints intricate and delicate works based in the Islamic tradition.  In fact, Amir is uncomfortable with Islam. He is an apostate, bent on maintaining his place in the white man's world.  His nephew, Abe (Omar Maskati.) a devout follower of the Muslim faith, is the sole reminder of his past.  By distancing himself from his traditions and family history, Amir has gone adrift and become disaffected. Is there a tribal identity that will out no matter who we try to become?  

"Disgraced" traverses the divide in understanding in a compelling and smart script. Its a well-wrought study of the complications that befall family and friendship.

For more information about MTC's "An Enemy of the People," please visit http://www.manhattantheatreclub.com/.

Visit  http://www.2st.com/ to learn more about "Modern Terrorism..."

For a schedule and information about "Disgraced," visit http://www.lct.org/index_lct3.htm 

Baiting The Trap in "Bullet for Adolf"

BTW, It's extended through October 21st! 

 (L-R) Shamika Cotton, Tyler Jacob Rollinson, Marsha Stephanie Blake, Shannon Garland, Lee Osorio, Brandon Coffey, and David Coomber in a scene from Woody Harrelson & Frankie Hyman’s “Bullet for Adolf” at New World Stages. Photo credit: Carol Rosegg

 Sometimes silliness is so sublime (think Marx Brothers) it feels like a gift from above.

(L-R) Tyler Jacob Rollinson and Lee Osorio in a scene from Woody Harrelson & Frankie Hyman’s “Bullet for Adolf” at New World Stages. Photo credit: Carol Rosegg

"Bullet for Adolf,"at New World Stages through September 9th, has the finely-honed madcap just right.
Frankie Hyman and Woody Harrelson have penned a rambling, nutty satiric comedy which Harrelson also directs at a pace that encourages the meandering spirit of the piece to find its own way.



 Brandon Coffey and Marsha Stephanie Blake in a scene from Woody Harrelson & Frankie Hyman’s “Bullet for Adolf” at New World Stages. Photo credit: Carol Rosegg


Tastelessness is high art in  "Bullet for Adolf." The plot is thin but meaty and involves the theft of a WWII artifact.

Prepare for rousing displays of misogyny and racism along with sweetly-wrought foul language. "Bullet for Adolf" hits many a social target. 

In a fine ensemble of doers and slackers, Marsha Stephanie Blake as Shareeta does a stand-out job. The sets, designed by Dane Laffrey, go from sparse to plush while we are distracted by a vintage 1983 video montage in the production design from Imaginary Media.   

"Bullet for Adolf" is unabashedly offensive, and extremely funny.

For a schedule of performance and ticket information for  "Bullet for Adolf," visit http://www.bulletforadolf.com/

A Pitstop On Route To The Venerable Edinburgh Festival Fringe

In 1947 eight theater groups turned up uninvited to the then brand-new Edinburgh International Festival. These pioneering 8 went ahead and staged their shows; in 1959 these "fringe" players were made official by the Festival Fringe Society. The policy The Edinburgh Festival Fringe Society established at the start was that "anyone with a story to tell and a venue willing to host them" could present on the annual programs.

59E59 Theaters offers some of those heading out to The Edinburgh Festival Fringe a place to tune up and refresh for the long trip. At "East to Edinburgh 2012," there are sixteen new shows prepping for the competition at the Festival Fringe to delight and intrigue.

Catch up with some old favorites, or meet up with some completely new productions, as the pre-Festival starts on July 10th and runs through July 29th.

Sarah Ruhl's "Dead Man's Cell Phone" rings in from the 19th to the 21st with a young cast. Teen angst set to 1960's Brit-pop rocks "MOD" in performances beginning on July 21st.

"Captain Ferguson's School for Baloon Warfare" makes another appearance at 59E59 before going across the pond to Scotland. (See our review from the eccentric Captain's earlier visit to 59E59.)

From monologues and standup to serious drama, East to Edinburgh showcases a taste of what the big Festival offers.

To find out more about East to Edinburgh and the other productions at 59E59 Theaters, visit, http://www.59e59.org/.

How Is A Tree Like a Strong Woman?

Dulcy Rogers plays Claire and her aunts in “I Am A Tree” at Theatre at St Clement’s. Photo © Carol Rosegg.

Do our life choices or our genetics make us strong? Can a descent into madness be inevitable?

In "I Am A Tree" at the Theatre at St. Clement's through June 30th, Claire (Dulcy Rogers) is in search of the truth about her mother's slide into insanity. Claire is seeking to find her better and fearless self, as she explores her family's past.

Dulcy Rogers as Claire's aunt Lillian in “I Am A Tree” at Theatre at St Clement’s. Photo © Carol Rosegg.

An Endless Variety of Entertainments

Canal Park Playhouse offers theater off the beaten path. Yes, it is geographically all the way on the far end of Canal over by the Hudson River.

Canal Park Playhouse is also an unusual venue because of its quaint landmarked setting in an 1828 canal house.

Most importantly for theater lovers, though, is the mix of surprising programming to be found at this lovely little theater.

For instance, weekends from April 21st to May 13th, "Drew the Dramatic Fool" (Drew Richardson)

brings his comedic sadsack "bumbling" to the Matinee/Brunch series. On Friday evenings from April 20th to May 11th, Drew gives slapstick a distinct edge in a show called "Help! Help! I Know This Title Is Too Long, But Somebody's Trying To Kill Me."

The recently launched "Play readings in the back room" are hosted by playwrights Joe Roland and Emily Devoti. Beginning on June 20th and running through July 15th from Wednesday through Saturday, come hear Frank McGuiness's "Someone Who'll Watch Over Me."

Visit http://canalparkplayhouse.com/ for more information on these programs.

It's A Bright New Clear Day

You know you're in strange country when a strong, sane psychiatrist talks seriously about reincarnation.

David Turner as David Gamble, Jessie Mueller as Melinda Wells and Harry Connick Jr as Dr. Mark Bruckner in “On A Clear Day You Can See Forever.” Photo by Nicole Rivelli

This peculiar territory is the premise of Alan Jay Lerner's and Burton Lane's 1965 musical "On A Clear Day You Can See Forever," at The St. James Theatre. (See opening night video.)

A word in retrospect, now that "On A Clear Day..." has drifted off into the sunset: Acting on "Law and Order" or performing one of his charming concerts, Harry Connick Jr. is a Sinatra for his generation. It has to be admitted that in "On A Clear Day...," he was not at his best, which is still pretty good.

The premise of the play is made all the odder still by script updates to Lerner's book contributed by Peter Parnell. Odder but still charming in its own loopy way.

Reset to 1974, with a bright psychedelic set by Christine Jones, "On A Clear Day..." is also enlivened by the presence, in addition to Harry Connick, Jr. as Dr. Mark Bruckner, of star discoveries, David Turner as his patient David Gamble and Jessie Mueller as Melinda Wells, David Gamble's most recent past life.

David stumbles into Dr. Bruckner's care after being inadvertently hypnotized, a trick the doctor performs during the class David goes to with his roommate Muriel (Sarah Stiles). It turns out that David is extremely susceptible to hypnosis.

David's sessions with Dr. Bruckner lead to the revelation that David was once Melinda Wells, an attractive and lively band singer from the '40s. When Dr. Bruckner meets her, he is smitten.

David Turner as David Gamble with Drew Gehling as Warren Smith, in a photo by Paul Kolnik

In the original version, Dr. Bruckner's patient was a woman. The original plot had none of the unwonted sexual-identity complications introduced in the current production.

Unwonted because Dr. Bruckner is straight. He is a man who, after three years, is still grieving the death of his wife. The complications, in which David thinks Dr. Bruckner is in love with him, and that he is in love with Dr. Bruckner, make the story line seem even more eccentric.

Kerry O’Malley as Dr. Sharone Stein, Dr. Bruckner's colleague and friend, in a photo by Paul Kolnik

David Turner is an exceptionally spirited performer. Drew Gehling who plays his lover, Warren Smith, is excellent. Jessie Mueller has plenty of talent. Lori Wilner's Mrs. Hatch, a secretary in the Kravis Institute where Dr. Bruckner works, delivers some very entertaining psycho-patter.
In fact, everyone in the cast of "A Clear Day..." does a terrific job in convincing us that all is well and normal. And the songs are truly lovely.

So, in short, all is forgiven, even though the day may be clear but the plot a bit foggy.

For more information about "On A Clear Day You Can See Forever" visit http://onacleardaybroadway.com/
_________________________________________________________________
A short history of "On A Clear Day..." can be found at Wikipedia:
The 1970 film adaptation, directed by Vincente Minelli, of the original Broadway hit (it received three Tony nods) starred Barbara Steisand, Yves Montand and Jack Nicholson. _______________________________________________________________________ Now that "On A Clear Day..." has drifted off into the sunset: Acting on "Law and Order" or performing one of his charming concerts, Harry Connick Jr. is a Sinatra for his generation. It has to be admitted that in "On A Clear Day...," he was not at his best, which is still pretty good.

Kate Fodor's "Rx" Is Not A Placebo

Hate your job? There’s a pill for that.

Stephen Kunken, as Dr. Phil Gray, and Marin Hinkle, as Meena Pierotti. Photo © 2012 James Leynse

In Kate Fodor’s new comedy, “Rx,” a Primary Stages production at 59E59 Theaters through 3 Mar., it appears that Big Pharma has a prescription for all of life’s tribulations.

Meena Pierotti (Marin Hinkle), a published poet, is miserable being Managing Editor at “Piggeries, American Cattle & Swine Magazine.”
Schmidt Pharma is developing a drug designed to relieve work-related depression. Meena is the perfect candidate for a clinical trial.

In fact, Dr. Phil Gray (Stephen Kunken), a researcher for the company, tells Meena, when she admits that there are many jobs far worse and more menial than hers, earns upwards of $65,000 and is covered by health insurance.

Marylouise Burke, as Frances, and Marin Hinkle as Meena Photo © 2012 James Leynse

Phil’s boss, Allison (Elizabeth Rich) actually loves her job. She is delighted at the potentially large audience that could benefit from the product they are working on. Her enthusiasm is not infectious. Phil has some doubts whether he shouldn’t be working as a doctor in Africa.

Elizabeth Rich as Allison. Photo © 2012 James Leynse

Meanwhile, Meena, still waiting for the pills to kick in, meets a cheerful widow named Frances (Marylouise Burke), in the old ladies’ underwear section of a neighboring department store. To Meena’s surprise, Frances tells her that she really missed her menial factory job when she got married.

Marylouise Burke, as Frances, and Marin Hinkle as Meena meet in the old ladies underwear section. Photo © 2012 James Leynse

The cast under Ethan McSweeny’s excellent direction gives Kate Fodor’s witty and entertaining script its due. To help keep up the comic pace, Lee Savage cleverly uses modular variations on the Murphy bed in the fluid set design.

Michael Bakkensen as Simon. Photo © 2012 James Leynse

Giving the satire in “Rx” a little extra bite, Marin Hinkle and Stephen Kunken, whose credentials include a 2009 Tony-nod for “Enron,” give affecting naturalistic performances as the romantic leads.

Marin Hinkle as Meena and Stephen Kunken as Phil.Photo © 2012 James Leynse

Paul Niebanck, on the other hand, who also plays neurotic ad exec Richard, gives a broad, almost slapstick turn, as Morgan, a bumbling research doctor in Schmidt’s lab. Rounding out the expert cast as Meena's gung-ho boss Simon is Michael Bakkensen.

Paul Niebanck as Richard. Photo © 2012 James Leynse

In “Rx,” KF writes a prescription for entertaining and earnest humor.

Visit www.primarystages.org to find out more about “Rx"

Romantic At Heart

Everyone needs a little romance, especially as that second week of February approached.

Just in time for Valentine's Day, this group of fourteen troubadors bring us "Lovesick, or Things That Don't Happen," a Project Y Theatre Company presentation at 59E59 Theaters through February 25th.

The series of vignettes are vaguely linked by recurringly named- characters. Oh, yes, and by a sort of hipster cynicism about love. Although, that cynicism may be masking a warped romaticism.

Jessica Varley as Amy in “Lovesick…” Photo © Matthew Murphy

The "Things That Don't Happpen" are charmingly funny, as for instance, the former banker now crack whore. "I prefer narcotic prostitute," Jessica (Teresa Stephenson) tells Brian (Andrew William Smith).

Andrew William Smith, Jeff Tuohy, Joachim Boyle and Barrett Hall in “Lovesick…” Photo © Matthew Murphy

The charm is in the performances given by the young cast. The funny is in the off-handedly easy going stories and songs from the creative team of Lia Romeo (plays), Michole Biancosino (concept and direction) and Tony Biancosino (songs). Each playlet is punctuated by an upbeat musical number.

Elizabeth Elkins as Wendy and Joe Varca as Max in “Lovesick…” Photo © Matthew Murphy

In one skit, Max (Joe Varca) tells Wendy (Elizabeth Elkins) a whooping sad tale in order to win her back. Then, after an on-stage costume change, they sing "Oh oh oh, I'm changing/.../ Yeah, I'm changing for you. It's almost subtle, and very entertaining.

Each of the seven witty little pieces in "Lovesick..." take a slightly askew look at love and its iterations.

Improbability meets passion. These folks wouldn't be suggesting that love could make anything come true, would they?

Michael Nathanson as Jack and Rian Alfiero as Father in “Lovesick…” Photo © Matthew Murphy

Michael Nathanson plays host as the MC for the evening, engaging the audience in silly exchanges. The actors double as the house band so that the evening has a free-flowing welcome to my club feel.

To learn more about "Lovesick..." go to www.59e59.org.

Stay Awake while "One Thousand Blinks" experiments with "micro sleep"

How much more could you accomplish if you didn't sleep?

A truly dedicated worker might be as productive as Morgan (Mark Cajigao) whose Sisyphesian task it is to translate a book on an unfamiliar subject in a language he does not know.

In "One Thousand Blinks," at 59E59 Theaters through January 29th, an odd scientist named Dr. Luk (Rachel Cornish) imposes an experiment in "Micro Sleep" on an unwitting Morgan.

Mark Cajigao as Morgan and Rachel Cornish as Dr. Luk in “One Thousand Blinks” Photo © Sara Brown

Hired in a far away land to teach a class that is indefinitely postponed, Morgan is instead offered the opportunity to make a lot more money working non-stop in a tiny room. The money is tempting as is the idea of hard work. You see, Morgan feels like a slacker for having his girlfriend, Jenny (Estelle Bajou), support him.

Mark Cajigao as Morgan and Estelle Bajou as Jenny in “One Thousand Blinks” Photo © Sara Brown

Jenny has sleep issues of her own, it turns out, mostly in the form of nightmares that are exploited by her ex-boyfriend, Bram (Drew Hirshfield). Unlike Morgan, Bram is successful and accomplished.

"One Thousand Blinks" is an engaging and spooky undertaking. Playwright Nick Starr keeps the suspense and mystery without letting strangeness become the point.

Mark Cajigao is endearing as Morgan struggling to be diligent. Rachel Cornish is serenely funny as her robotic Dr. Luk calmly terrorizes the hapless Morgan. Drew Hirshfield's Bram is smarmy and oily, and Estelle Bajou portrays Jenny as a fierce victim.

Estelle Bajou as Jenny and Drew Hirshfield as Bram in “One Thousand Blinks” Photo © Sara Brown

With a cast dedicated to making everything appear normal, "One Thousand Blinks" triumphs as a highly askew romantic comedy.

For a schedule and tickets for "One Thousand Blinks" by Nick Starr, directed by Melinda Sorci in theNest production at 59E59 Theaters, visit 59e59.org

Private Lives: Short-Lived on Broadway

Noel Coward's wit is crisp and elegant. It's a genuine shame that his classy comedy, "Private Lives" is closing at the end of the month.

So, our recommendation, hurry to see it if you possible can.

Kim Cattrell (Amanda) with Simon Paisley Day (Victor) in a photo © by Cylla von Tiedemann

"Private Lives," at The Music Box in a run shortened to December 31st, takes us on a honeymoon to Deuxville France where Amanda (Kim Cattrell) and Elyot (Paul Gross) rekindle the sparks of their very fiery first marriage while on their honeymoons with Victor (Simon Paisley Day)
and Sybil (Anna Madeley).

See videos from "Private Lives" on YouTube

Amanda's haplass spouse Victor and Elyot's new bride Sybil don't stand a chance once the old lovers meet again on the balcony of their honeymoon suites. Elyot is already bored by his young wife when he and Amanda share a cocktail outside their adjoining rooms.

Paul Gross as Elyot and Anna Madeley as Sybil in a photo © by Cylla von Tiedemann

The production does Noel Coward proud. Under Richard Eyre's direction. "Private Lives" is well-paced and utterly enjoyable. The splendid set, by Rob Howell (who is also responsible for the wonderful costumes) includes the most marvellous apartment in Paris. The actors are all charming and mannered without affectation. Simon Paisley Day is extremely funny as the bombastic and conventional Victor. Kim Cattrall cavorts and dances with abandon; her Amanda is not given to humbug.

So, recap here, closing very very soon. Go... See it before it does.
There's an opening night video on YouTube

Paul Gross as Elyot and Kim Catrell as Amanda in a photo © by Cylla von Tiedemann

For more information, visit

Who exactly is "Sid James"?

See The Best of Sid James which includes the Carry On films in which he played a sly lecherous Cockney.

It's not giving too much aways to say that this is a romance that doesn't stand a chance.

"Kissing Sid James," at 59E59 Theaters through January 1, is Robert Farquhar's sad-funny new play about a ill-suited couple's sad-funny weekend away.

Crystal (Charlotte McKinney)is a vivacious young woman, who works as a croupier; Eddie (Alan Drake) invites her away for a tryst in the country. "You didn't have any... niggling... You didn't think, just you and me here," she asks him, "that we might not get along."

Photo by Carol Rosegg Alan Drake as Eddie with “the tash” and Charlotte McKinney as Crystal in “Kissing Sid James,” a Brits Off Broadway Festival offering

Crystal recognizes that Eddie has his charms, but he is basically a loser. Alan Drake is marvelously deflated as the hapless lothario. She is clearly far more imaginative than the uninspired Eddie.

After an awkward start, Crystal and Eddie settle in to some sex --which she initiates,-- and then to a rainy stay and a very contentious game of Scrabble. "This is it. Life, the great non-starter," Crystal announces in desperation at her choices.

For more information about Brits Off Broadway and "Kissing Sid James,' visit