Isn't It Romantic: Paddy Chayefsky's Look At Love

Is there anything sweeter than romance, or more prone to meddling?

Lillian (Melissa Miller) and her husband Jack (Todd Bartels) with Jerry (Jonahan Hadary) and his sister Evelyn (Denise Lute) first hear Jerry's news in "Middle of the Night" by Paddy Chayefsky, directed by Jonathan Silverstein at the Keen Theatre through March 29th. Photo by Carol Rosegg.

Family and friends impede on the happiness in the May-December romance at the heart of "Middle of the Night." Paddy Chayefsky's play at the Keen Company under Jonathan Silverstein's direction at Theatre Row through March 29th,  is in its first revival since a Broadway run (and national tour) in the mid 1950s.

 Jerry (Jonahan Hadary) and Betty (Nicole Lowrance) in "Middle of the Night" by Paddy Chayefsky, directed by Jonathan Silverstein at the Keen Theatre through March 29th. Photo by Carol Rosegg.

"Middle of the Night" has a fine pedigree, all penned by Chayefsky. It started out as a television for the inaugural show of the seventh season of he Philco Television Playhouse where it starred E.G. Marshall and Eva Marie Saint. It then relocated in 1956 to Broadway where it starred Edward G. Robinson and Gena Rowlands, and went on to star Kim Novak and Frederic March in the Columbia Pictures version in 1959.

In "Middle of the Night," an aging garment Manufacturer, Jerry Kingsley (Jonathan Hadary) is seduced by loneliness and the charms of the Girl from his plant, Betty Preisser (Nicolde Lowrance) into a romance he is not sure is wise. His family, with the exception of his son-in-law, Jack (Todd Bartels) -- his stern sister Eveylyn (Denise Lute) and his daughter Lillian (Mellisa Miller)-- try to dissuade him from continuing the affair.

On Betty's side the objections are even louder. She is only 24 to his 53, and her mother, Mrs. Mueller (Amelia Campbell) doesn't understand why Betty would want to divorce her husband, George (Todd Bartells again) in order to marry an old man. Betty's friend Marilyn (Melissa Miller in the role) is equally puzzled and disapproving.

Mrs. Mueller (Amelia Campbell) and Betty (Nicole Lowrance) in "Middle of the Night" directed by Jonathan Silverstein for the Keen through March 29th. Photo by Carol Rosegg. 

The allure of Paddy Chayefsky's slice-of-life drama is abundantly on display in this heart-warming Keen production. The cast are splendid, with Jonathan Hadary and Nicole Lowrance in especially fine form.

Betty (Nicole Lowrance) and Jerry (Jonathan Hadary) embrace in a scene from Chayefsky's "Middle of the Night" directed by Jonathan Silverstein for Keen Company at Theatre Row through March 29th. Photo by Carol Rosegg.

To learn more about "Middle of the Night," please visit the Keen Company website.

"Miss Lead"

Dawn Jamieson, Dylan Carusona, Nancy McDoniel,
Tyree Giroux, Tanis Parenteau, and Michelle Honaker in
"Miss Lead"
at 59E59 Theaters. Photo by Steve Bartel

As EPA standards lessen, land and water, as in the headlines about West Virginia, is polluted by companies safely unaccountable for their misdeeds. Going back to recent history, in the 1940's, the Bureau of Indian Affairs was able to use WWII as an excuse to allow mining for lead on Native grounds. In that case, as in the current headline events, the government is complicit.

Mary Kathryn Nagle's "Miss Lead," at 59E59 Theaters, in an Amerinda production, through January 26th, looks at a combination of the historic mismanagement by the BIA and the fact that large companies have been allowed to ride roughshod over communities, particularly Native American ones, around the country.  Unfortunately, all the sympathy for those vicimized cannot make sense of the jumbled plot.

Tanis Parenteau in "Miss Lead"  at 59E59 Theaters. Photo by Steve Bartel

It is nearly Thanksgiving in a mining town, and the family owned Tri-State Mining Company is trying to put a brave spin on impending law suits and EPA SuperFund excavations. Meanwhile, the effects of lead poisoning may already have hit close to their own home.

The device of using a writer, Katie (Tanis Parenteau), as the central character and sometime narrator only serves to distance the viewer from the tragedy at the heart of the story. "Miss Lead" is an unconvincing drama.

Kudos to Elizabeth Rolston, who as Rebecca, has to deliver a polemic with fluidity and ease. Among the large cast, Stuart Luth, both as Fred and as David, and Claire Louise Burke as Ruth are the most natural.
Also in a dual role, as Glenda and Aunt Mallory, Nacy McDoniel gives some broadly comic relief.

For more information about "Miss Lead," please visit 59E59 Theaters.

From the book to the screen, and onto the stage

Movies and theater are such different meda. Even though they often have much in common, they are two separate worlds.

Cast of "A Time To Kill" in a photo by Carol Rosegg.

One point of intersection is that both employ the skills of actors and directors. Another is that both in film and on the stage, those actors recite words written by scene writers, whether we call them script writers or playwrights.

Finally both at the cinema and in the theater, the audience is invited into a world envisioned for them by the actors and writers, directors, stage managers or cinematographers, costume and set designers. The story or plot can come from a book or the mind of the writer, from headlines (as expressed by the appetizing phrase "ripped from the headlines"), or from everyday life.

Movie-makers and theater-makers transport us outside of ourselves to worlds and places that we imagine together as their stories unfold. Therein lies the magic.

We're looking forward to seeing how John Grisham's book, "A Time To Kill," lately embodied in a movie starring Matthew McConaughey, Sandra Bullock, Samuel L. Jackson, among others, translates to the stage.

Can't wait to see "A Time To Kill," adapted by Rupert Holmes, at The Golden Theater. For more on the production, visit http://atimetokillonbroadway.com/.

"The Awake" Is Noirish But Not Bleak

Dreams can turn devilish and disrupt our lives in subtle ways.

Teaser courtesy of Kef Theatrical Productions

In Ken Urban's "The Awake," directed by Adam Fitzgerald, at 59E59 Theaters through September 8th, dreams seem to randomly echo our worst fears. Despite its noirish atmosphere of mystery and dread, "The Awake" remains nightmare-lite. In other words, to say it is noir-ish is to say it's more gray than black.

Maulik Pancholy in Ken Urban's "The Awake" at 59E59 Theaters. Photo by Kevin Thomas Garcia

"The Awake" is very entertaining, never more so than when Gabrielle (Lori Prince) brings her vaguely Balkan inflected narrative to startling conclusions. "I am actress, Gabrielle, yes," she says, while her husband Richard (Jeff Biehl, in a variety of roles) explains away her accent by saying she watches too many foreign films.

Andy Phelan and Lori Prince in Ken Urban's "The Awake" at 59E59 Theaters. Photo by Kevin Thomas Garcia

Gabrielle's bright red dress, like her animated delivery brighten the gloom of "The Awake," with its diverse population of haunted characters. Malcolm (Andy Phelan) doesn't accept that his mother's (Dee Nelson, also in the ensemble of roles) comma is permanent and fatal. Richard and his daughter Celeste (Jocelyn Kuritsky, who takes on a number of parts) seem to go in for devising instruments of torture. Nate (Maulik Pancholy) is a fugitive from Homeland Security.

Maulik Pancholy, Jeff Biehl and Lori Prince in Ken Urban's "The Awake" at 59E59 Theaters. Photo by Kevin Thomas Garcia

"The Awake" achieves what seems impossible at first, tying all its loose ends to one central locus. It begins with the individual night terrors of its main characters, Nate, Gabrielle, and Malcolm, and their significant and insignificant others, but pulls it altogether at the end. Not that it makes a great deal of sense in the linear traditions of a plot, but it brings its own dream-like denoument.

Lori Prince and Jocelyn Kuritsky in Ken Urban's "The Awake" at 59E59 Theaters.
Photo by Kevin Thomas Garcia

For more information about Ken Urban's "The Awake," go to his site from here. For tickets for this production, go to www.59e59.org.

Secrets Haunt in "Unbroken Cirlcle"

Aunt June (Eve Plumb) finally gets to read the will as the family looks on.
Edna (Anika Larsen), Patti (Juli Wesley), Bobby (James Wesley) and Ruby (Suzanna Hay) Photo by Bill Selby.

There is no such thing as a well-kept secret. In fact the secrets the family in "Unbroken Circle," at St. Luke's Theatre in an open run every Wednesday, have done a good deal of harm.

Aunt June (Eve Plumb), Cheryl (Lori Hammel), Bobby (James Wesley) and Ruby (Suzanna Hay) sit around the table trying to enjoy a family meal. Photo by Bill Selby.

James Wesley, who also stars as Bobby, has written a darkly comic, poignantly gripping play about a family troubled by their past. "Unbroken Circle" is moving, and unpredictable.

The family gathers after burying Travis, the father and grandfather that none of them, except perhaps Aunt June (Eve Plumb) much misses. In fact, his demise frees his wife Ruby (Suzanna Hay) of many burdens of care. Her daughter, Edna (Anika Larsen) comes back home for the first time since she ran away at sixteen. Bobby (James Wesley), her twin, can unburden himself of a life of failure and misery too.

Husband and wife Cheryl (Lori Hammel), Bobby (James Wesley) confront their daughter, Patti (Juli Wesley). Photo by Bill Selby.

Eve Plumb is very fine as the cynically pious June. Suzanna Hay stands out as the tough and  
protective Ruby. James Wesley is brilliant as the defeated Bobby. Lori Hammel is excellent as his wife Cheryl, as is Anika Larsen as the prodigal sister. The youngsters, Stacey Bone-Gleason as Cathy, who has just come of age, and Juli Wesley as the precocious and clever Patti, give memorable performances. In short, the ensemble are superb.

"Unbroken Circle" is an engaging, entertaining and touching drama about a family overcoming their troubled past. The direction by Jason St. Little and the sets by Josh Iacovelli make the most of the small space in which the play is staged. 

For more information, schedule, and tickets for "Unbroken Circle," please visit www.unbrokencircletheplay.com. 

What To Do?

So much to do, so little time. If this familiar refrain has you wondering how to plan your weekend, here are some suggestions from T&B On The Aisle:

Check out "ONE NIGHT STAND," opening April 26 and playing through May 2nd at the Quad Cinema, a backstage documentary, chronicling the production of The 24 Hour Musicals in which teams of top-notch musical theater talent have 24 hours to create, cast, rehearse and put on a live benefit show. See Cheyenne Jackson, Richard Kind, Rachel Dratch (among other performers) and directors like Sam Gold, along with writers and composers like Jonathan Marc Sherman and Benj Pasek and Justin Paul.

A scene from "ONE NIGHT STAND"

The pressure cooker environment behind the scenes as 4 short musicals come to life was echoed by the crews behind the  camera as they plunged into  a sleepless shoot. Produced by Elisabeth Sperling and Trish Dalton with the assistance of 10 shooters, four production assistants, and three editors, "ONE NIGHT STAND" is a wonder of improvisation and inspiration.

Rachel Dratch and Richard Kind in  a scene from "ONE  NIGHT STAND."

Visit www.onenightstandthemovie.com to learn more about "ONE NIGHT STAND."

The Wild Project, a production and venue for emerging artists and new theater, film and visual arts, has on-going programming to entertain and enlighten. Catch Kara Manning's "SLEEPING ROUGH," through April 27th, for instance in which an American woman spews graffitti of discontent all over London. Next, "ALONDRA WAS HERE" by Chisa Huthcinson, takes the stage, from May 4th to the 18th, with a tale of politics and brutality.

For more information about these and other productions at The Wild Project, visit www.thewildproject.com.

You think you can dance goes on parade with the Shakedown Dance Collective, a gang of 55 people of all shapes and sizes, ages and aspirations, under the tutelage of professional dancers Jamie Benson and Deborah Lohse. 

Deborah Lohse. Photo by Peter Sperling

 The Shakedown consists of weekly 2 hour dance rehearsals that prepare would be dancers for performances throughout New York City.Lohse and Benson have declared Sunday, April 28th "International Dance Day" with a Gala at Dixon Place. On May 18th, join Shakedown for "DANCE PARADE NEW YORK," from 1pm to 7pm from Broadway to Tompkins Square Park.

This is what a Shakedown class looks like! Photo by Bonny Kahane.

For more infomration about Shakedown Dance Collective, please visit www.danceparade.org and go to 
http://7thannualinternationaldanceday.eventbrite.com/# for tickets for the International Dance Day Gala.

"I AM AN OPERA" in a photo by Tim Hailand.

"I AM AN OPERA," at Dixon Place through April 27th, takes us from a large crowd to a one man show, in which Joseph Keckler, writer/performer, sings arias of lament and exultation. "I AM AN OPERA" details Keckler's life as a portrait of the artist taunted by demons, tripping on hallucigens, and  suffering through day jobs.

Joseph Keckler in performance. Photo by Gerry Visco.

 To learn more about "I AM AN OPERA," please visit dixonplace.org.

Empowering The Young: "Emotional Creature"

We're a long way from "Girls Just Want to Have Fun." 

Eve Ensler's "Emotional Creature," in an outside production imported from California's Berkeley Repertory Theatre to The Romulus Linney Courtyard Theatre at The Pershing Square Signature Center, through January 13th, details the atrocities that so often rob girls of their childhood.

Molly Carden  in "Emotional Creature" by Eve Ensler. Photo by Carol Rosegg.

All over the globe, they are deprived of their girlhood by being abducted, beaten into prostitution, forced into factory labor, raped, denied an education. But it's not just crimes, like genital mutilation, that keep girls from enjoying their youth. There is also peer pressure to be skinny, to be straight, to be popular, to be pretty that add hardship to the confusion that is part of growing up.  

Ashley Bryant in "Emotional Creature" by Eve Ensler. Photo by Carol Rosegg.

This panoply of obstacles to self-actualization is rendered in monologue, and in song and dance, in "Emotional Creature" by an enthusiastic cast of young women.

Joaquina Kalukango in "Emotional Creature" by Eve Ensler. Photo by Carol Rosegg.

In her title, Ensler has co-opted the notion that conflates being female with having an excess of feeling, the diagnosis of which was once simply called hysteria. Unfortunately, even though Ensler's earnest feminism is never in doubt, the passion in "Emotional Creature" feels like politically correct lip-service. The world-wide success of her earlier play,"The Vagina Monologues," led to the creation of V-Girls, as a platform to empower the young  as Ensler's foundation, V-Day, a global activist movement to end violence against women had empowered a generation of adult women.

Olivia Oguma in "Emotional Creature" by Eve Ensler. Photo by Carol Rosegg.

Subtitled "the secret life of girls around the world," "Emotional Creature" is just too ambitious in its scope. There is too much going on-- some of it funny, some of it heartwrenching, some of it inconsequential -- unless perhaps you are that teenage girl trying to fit in.  What we don't get is to feel fully engaged with "Emotional Creature." 

These girls stories are for the most part too dire to trivialize, but "Emotional Creature," in aiming alll over the world glosses over and simplifies a world of troubles. In fact, some of the lighter and funnier moments are the best part of "Emotional Creature."  Those include the cast in a chat room worrying over what not to eat. Ashley Bryant taking and critiquing pictures for her Facebook page and Sade Namei missing her pre-nose job face make for amusing insights into the secret lives of girls.

The cast also includes  Emily Grosland, Joaquina Kalukango, Molly Carden, and  Olivia Oguma. Running time is just under 90 minutes.

For more information please visit http://emotionalcreature.com. 

Flawed heroes: "Cyrano De Bergerac" and "The Whale"

Sometimes, we allow even minor physical flaws to represent all our failings.

The hero in "Cyrano De Bergerac," at the Roundabout's American Airlines Theatre through  November 25th, allows his comically large nose to be an impediment to his happiness.

Cyrano (Douglas Hodge) does not suffer fools. He triumphs with his sabre-sharp intelligence and sharper sword. It is his generous heart and animated wit that that command the loyalty of his regiment as well as of his fellow poets and gad-abouts.

Samuel Roukin as Valvert and Douglas Hodge as Cyrano in Roundabout's production of Edmond Rostand's "Cyrano De Bergerac." Photo by Joan Marcus

The excitement with which his companions anticipate Cyrano's arrival energizes the already vibrant opening scene in "Cyrano De Bergerac." When he finally bursts in, Cyrano mesmerizes with the force of his outsized personality. Douglas Hodge embues Cyrano with so much gusto and fire that he seems to be a mythical hero.

Cyrano and Christian (Kyle Soller), a handsome newly recruited cadet are bonded by their rivalry for Roxanne's (Clémence Poésy) love.

Clémence Poésy as Roxanne, Kyle Soller as Christian with Douglas Hodge as Cyrano. Photo by Joan Marcus.

Edmond Rostand's gorgeous and enduring masterpiece of unrequited love gets a beautifully fluid verse translation from Ranjit Bolt in this gorgeous and opulent production.

Roxanne, taken by Christian's good looks, is even more intoxicated by the rapturous words of love Cyrano writes for him.  Cyrano and Christian share an allegiance that leads to sacrifice. The love in "Cyrano De Bergerac" is unconsummated, tender and wildly romantic.

Peter Bradbury, Jack  Cutmore-Scott, Douglas Hodge, Okeeriete Onaodowan, Samuel Roukin, Bill Buell, and Andy Grotelueschen in "Cyrano De Bergerac." Photo by Joan Marcus. 

In an excellent and extensive ensemble, Douglas Hodge is a marvel. His performance is both natural and incredible. His Cyrano is a gigantic and imposing figure. After a powerful performance as Spidey's over-miked nemesis, The Green Goblin,  Patrick Page plays a subtler role as a foppish villain, the Comte de Guiche, 

Jamie Lloyd's imaginative direction gives this "Cyrano De Bergerac" a feeling of accessibility. It's somehow akin to gourmet comfort food, familiar in its outlines, astounding in the details of its ingredients. The sets and costumes by Soutra Gilmour provide a lush and elegant backdrop on which Cyrano's touching story plays out. 

The physical also looms large in Samuel D. Hunter's "The Whale," at Playwrights Horizons through December 9th.

 In "The Whale,"Charlie (Shuler Hensley) is so grotesquely overweight that he can barely move around the epic dump (set by Mimi Lien) of an apartment in which he lives. His 600+ lbs have made breathing difficult and painful. Liz (Cassie Beck), his impromptu visiting nurse and friend, lovingly and disgustedly hurls abuse at him while she cares for him.   They are both aware that he is dying.

Like Cyrano, Charlie is a wordsmith. His job is to offer on-line tutorials on term papers. He is a very nonjudgmental teacher. Charlie is a softee with a rosy view of human potential and kindness. In contrast, all the women in his life are tough and angry.

Regina de Courcy, as Ellie, his strange and estranged teenage daughter, gives a brilliant portrayal of a smart and smart-mouthed misfit. Shuler Hensley makes this bleak tale of a man isolated in his immobility riveting.

Samuel D. Hunter's "The Whale"is a well-conceived play but Rostand's "Cyrano De Bergerac" is an iconic and soaringly wonderful with  beauty-and-the- beast themed work. The Roundabout has done it proud.

For more information on "The Whale," please visit Playwrights Horizons.

To learn more about the Roundabout and its production of  "Cyrano De Bergerac," please go to  Roundabout Theatre Company.

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 

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/.

Justice Is Illusive in "Murder In The First"

Chad Kimball as Willie Moore, Ryan Scoble as a guard, Guy Burnet as Willie’s attorney, Henry Davidson, Thomas Ryan as Judge Clawson, Jim Lorenzo as Alcatraz’s Assistant Warden Milton Glenn, and Darren Kelly as DA Bill McNeil in “Murder in the First” at 59E59 Theaters. Photo © Carol Rosegg.

Since justice is illusive, the courtroom always makes a compelling setting for drama.

“Murder in the First,” at 59E59 Theaters through July 1st, is a rivetting courtroom drama. Inspired by a headline-making actual trial from the early 1940s, in 1995 Dan Gordon turned these real events into a film, and now has moved the proceedings to the stage.

Willie’s attorney, Henry Davidson (Guy Burnet) visits Willie Moore (Chad Kimball) in his cell in “Murder in the First” at 59E59 Theaters. Photo © Carol Rosegg.

Gordon's play tells the story of Willie Moore (Chad Kimball), who upon being released from the dungeons at Alcatraz, murdered a fellow inmate. The large, impassioned cast delivers the gripping tale of Henry Davidson's (Guy Burnet) surprising defense in a Federal court in San Francisco.

His day in court: Willie’s attorney, Henry Davidson (Guy Burnet) pleads in front of Judge Clawson (Thomas Ryan) with Willie Moore (Chad Kimball) in the witness chair in “Murder in the First” at 59E59 Theaters. Photo © Carol Rosegg.

Standing out in this excellent panoply of players are Joseph Adams as a wannabe Winchell named Houlihan, and Larisa Polonsky as Mary McCasslin an ambitious lawyer in love with both Henry and her job at a time when women were not generally hired by the public defender's office. John Stanisci is Henry's older brother Byron, a successful corporate lawyer who tries to protect Henry from himself. Also giving a superb performance is Robert Hogan as the bewildered warden of Alcatraz Harold Humsen, a man who made rehabilitation the business of prisons but was outdone by the demands of running "the rock." Lastly, Darren Kelly as the DA Bill McNeil certain of winning his case exudes supercilious confidence in a fine portrayal.

Guy Burnet (background), Anthoula Katsimatides and Chad Kimball in “Murder in the First” at 59E59 Theaters. Photo © Carol Rosegg.

Chad Kimball and Guy Burnet carefully measure the mettle of their characters in stirring performances. Hank and Willie develop an unlikely friendship in this moving drama.

“Murder in the First,” beautifully paced by Michael Parva's directorial hand, is well-written and tense. The sets designed by Mark Nayden split the stage, moving the action fluidly with the aid of David Castaneda's lighting from the cage in which Willie is held to the court over which Judge Clawson (Thomas Ryan) presides to Henry's offices or home.

Excellent writing, good acting, fine staging all add up to a stellar “Murder in the First.”

For a schedule or tickets, please visit www.59e59.org.

Photos © Carol Rosegg l-to-r: Chad Kimball with Larisa Polonsky; Larisa Polonsky with Guy Burnet; and Guy Burnet with John Stanisci in “Murder in the First” at 59E59 Theaters. Photo.

"Take What Is Yours"

All of us benefit from the struggles of three generations of American women for whom getting the right to vote was nearly a full-time job.

Erica Fae in “Take What Is Yours” at 59E59 Theaters. Photo © Augustinus Tjahaya

In “Take What Is Yours,” at 59E59 Theaters through May 27th, Erica Fae along with Jill A. Samuels, who also directs, tells the story of Alice Paul (Erica Fae,) a particularly dedicated Suffragette.

Alice Paul, educated with multiple degrees from prestigious colleges in the US and England, was relegated to a psychiatric ward for her determination. She was arrested for leading marches at the White House; in prison, she led a hunger strike. "Take What Is Yours," based on the writings of Alice Paul and members of The National Women's Party, is a fictionalized account of Alice Paul's time spent at Occoquan Workhouse in Virginia.

To say that her jailers were neither kind nor sympathetic understates the cruelty she suffered. Alice Paul rallied against the inhumane conditions under which she and the women with whom she was arrested were held. She offended the authorities, particularly the prison physician Dr. Gander (Adrian Jevicki)by requesting status as "political prisoners."

Wayne Maugans and Erica Fae in “Take What Is Yours” at 59E59 Theaters. Photo © Augustinus Tjahaya

The claustrophobic staging (Jill A. Samuels, concept, design consultant by Deb O) adds to the oppressive realism of the production. Theater B at 59E59 is a small space, made so much smaller by the wall behind which Fae and Wayne Maugans (as The Man,) Jevicki (who plays a Guard as well as Dr. Gander,) David Riley (as a Guard) and Courtney Stallings (Nurse) appear. Panels of the wall move aside to reveal the action; the half-sized bed in Alice Paul's tiny room spins as she is interviewed repeatedly by The Man and Dr. Gander.

Wayne Maugans air of aggressive hostility, even distaste, makes The Man a truly unpleasant visitor. Erica Fae is superb in the lead.

To find out more about "Take What Is Yours," please visit www.59e59.org.

Secrets and Evasions

Repressive regimes-- like the communism that the journalist and "Cold Warrior" Joseph Alsop detested or the equally unsavory home-grown witch-hunting of Joseph McCarthy-- breed secrecy and fear.

In David Auburn's "The Columnist," at MTC's Samuel J. Friedman Theatre extended to June 24th again through July 1st, Joe Alsop (John Lithgow) hides the open secret of his homosexuality in a marriage to his best friend's widow, Susan Mary Alsop (Margaret Colin.)

John Lithgow as Joseph Alsop with Margaret Colin as Susan Mary Alsop Photo © Joan Marcus.

"Ghost..." Haunts A Broadway Stage

Who knew blockbuster was spelled G_h_o_s_t?

Caissie Levy as Molly Jensen and cast in “Ghost the Musical.” Photo © Joan Marcus.

Bruce Joel Rubin (book & lyrics) has adapted his Academy Award winning film into "Ghost the Musical," in the Lunt-Fontaine Theatre for what may prove to be a very long run. (See videos from the show at www.ghostonbroadway.com.)

Caissie Levy as Molly Jensen, Richard Fleeshman as Sam Wheat and Bryce Pinkham as Carl Bruner in “Ghost the Musical.” Photo © Joan Marcus.

"Ghost the Musical" merges the cinematic with the dramatic into a spectacular spindrift of song, dance and romance. Matthew Warchus helms a musical play with many moving parts all of which contribute to the atmosphere of other-worldly excitement. The visual tricks (Illusions by Paul Kieve and Video & Projections by Jon Driscoll in a prodcution designed by Rob Howell) will convince the greatest cynic that there are ghosts among us. Ashley Wallen's dynamic choreography, with additional movement sequences by Liam Steel keep up the pace and tension in "Ghost the Musical" even for those of us who have seen the iconic movie.

Da”Vine Joy Randolph as Oda Mae Brown, Richard Fleeshman as Sam Wheat and Jeremy Davis as a Bank Officer in “Ghost the Musical.” Photo © Joan Marcus.

Like the movie's plot, "Ghost the Musical" is a simple romantic fantasy. After he is murdered in what looks like a street robbery gone bad, Sam Wheat (Richard Fleeshman) can find no peace until he makes an honest psychic out of the con woman Oda Mae Brown (Da'Vine Joy Randolph). In "Ghost the Musical," Sam comes to rely on Oda Mae to keep his girlfriend, Molly Jensen (Caissie Levy) out of harm's way and to avenge his untimely death. Whoopi Goldberg's fans won't be disappointed in Randolph's sassy Oda Mae, who turns out to have a gift for leading souls to their rest. Randolph is a triple threat star, acting, singing and dancing; her Oda Mae has swagger and vulnerability as she reluctantly befriends Sam's ghost.

Da”Vine Joy Randolph as Oda Mae Brown and cast in “Ghost the Musical.” Photo © Joan Marcus.

Fleeshman develops his character well showing first Sam's bewilderment at what has happened to him, and then his tenacity at making things right. Carl Bruner (Bryce Pinkham), Sam's colleague who hits on Molly a little too soon, is swarmy and appropriately a little creepy. Levy and Fleeshman are pretty to watch adding the heat to this love story.

Caissie Levy as Molly Jensen and Richard Fleeshman as Sam Wheat at the pottery wheel in “Ghost the Musical.” Photo © Joan Marcus.

Even the technical glitch that held up the conclusion in act two at the preview performance this reviewer attended kept everyone in their seats. It was taken as a time to talk amongst ourselves and wait patiently. Please visit www.ghostonbroadway.com for tickets and to learn more about the show.