The Weekend Report

Those of us lucky enough to have a weekend, don't have Daniel for a boss.

Rich, powerful, charismatic and abusive, Daniel is an off-stage presence in "Assistance," at Playwrights Horizons through March 11. Daniel is unseen and unheard-- calling in to his minions from London and Tokyo.

Vince's (Lucas Near-Verbrugghe), Nick's (Michael Esper) and Nora's (Virginia Kull) reactions are the witness to his rants against their incompetence and grammatical failings. Meltdowns are legion as are firings.

Virginia Kull as Nora with Amy Rosoff as Jenny in background. Photo © Joan Marcus

Leslye Headland's paean to the working classes. Well to those enthrall to the great wealth and financial success of ogreish moguls.

Lucas Near-Verbrugghe as Vince and Michael Esper as Nick. Photo © Joan Marcus

Serving a petty tyrant is a choice for these young people. Jenny (Amy Rosoff) is thrilled at the chance to work more closely with Daniel, for instance. The hapless Heather (Sue Jean Kim), on the other hand, chooses her uncle's funeral over an assignment in Chicago, with seemingly dire consequences for her.

Sue Jean Kim as Heather. Photo © Joan Marcus

Bobby Steggert's Justin has a short but convincing stint on stage, demonstrating just how far around the bend the Daniels of this world can take their proteges.

The players in "Assistance" under Trip Cullman's deft direction are all splendid. In the surprise coda to "Assistance," Amy Rosoff exhibits outstanding and completely unexpected talents.

The assistants in "Assistance" might benefit from a workplace drug like the one in Kate Fodor's "Rx." (See commentary on "Rx.")

Visit www.playwrightshorizons.org for a schedule of performances. Over at the glassworks, power also wrests in the master's hands.

In "Rutherford & Son," at The Mint Theater Company through April 8th, playwright Githa Sowerby captured the tone and cadence of a miserable rural life, both in John Rutherford's (Robert Hogan) home and his factory. He has sacrificed his children's happiness to respectability and financial success.

See video

Rutherford & Son at the Mint Theater from Mint Theater Company on Vimeo.

It's easy to see why "Rutherford & Son" was a sensation when it had its premiere at London's Royal Court Theatre in 1912 and then again a few months later when it opened on Broadway. Githa Sowerby understood not only the mores of a small town but also the ebb and flow of business.

David Van Pelt as Martin and Sara Surrey as Janet. Photo © Richard Termine

The fine cast under Jonathan Bank's sure-handed direction also understand the rhythms of this old-fashioned but very modern play. Sara Surrey particularly stands out as John Rutherford's embittered spinster daughter, Janet, and Eli James is exceptional as his thwarted and feckless son, John.

For more information and a schedule of performances, please visit www.minttheater.org.

Working it in a completely different way were the guitarists (and their ensembles) Doug Wamble and Nino Joselle in Jazz Meets Flamenco at JALC's Allen Room on February 24th and 25th, with two remarkable dancers, Jason Samuel Smith representing the jazz-tap side and Juan De Juan onboard to represent Flamenco.

See pictures from the show here.

Jazz at Lincoln Center invited the two guitarists to showcase their flamenco sensibilities. Doug Wamble rose to the occasion with a composition for reeds (John Ellis), bass (Eric Revis), drums (Rudy Royston) and most importantly tap (Jason Samuel Smith.) "The Traveler" is a song cycle, performed by Mr. Wamble and his ensemble, and punctuated by very fancy footwork by Mr. Smith.

The Flamenco side of the program, represented by the incredible and fierce Juan De Juan, dancing to the music performed by Mr. Joselle and his bassist (John Benitez) and percussionist (Horatio "El Negro" Hernandez) won the dance off despite Mr. Smith's accomplished performance. Juan De Juan accomplishes the seemingly impossible in his Flamenco interpretations.

The special treat here was watching Jason Samuel Smith and Juan De Juan together for the finale of the program.

For more information about Jazz At Lincoln Center programs, visit www.jalc.org. The Flamenco Festival 2012 in New York City continues this month with, among other venues, performances at New York City. Visit www.nycitycenter.org for more information.

Celebrating 50 Years at PTDC

While on stage, the peripatetic Paul Taylor Dance Company always seems to be on the move. In fact, their modus vivendi is to practically fly off the stage, in continuous motion. So it may not seem like big news that they are on the move for the spring season.

Well, after celebrating many a spring at New York City Center, they will head up to the David H. Koch Theater at Lincoln Center for their performances beginning this March. And they plan to make the 2012 season special.

The “white ballet,” Aureole. Photo © Paul B. Goode

To commemorate not just their move, but also the 50th anniversary of Paul Taylor's remarkable dance piece "Aureole," PTDC is staging a special performance on 13 March at the 1962 price of $3.50. These specially priced tickets went on sale beginning on 9 Jan. at the Koch Box office, online at www.ptdc.org/tickets.

"Aureole" is light and romantic, but has a meaty athleticism. Its luminous male solo part has been performed not only by generations of Taylor dancers, and in the original production by Paul Taylor himself, but also by both Rudolf Nureyev and Mikhail Baryshnikov.

“Aureole” is remarkable for the new ground it broke in connecting modern dance to the ballet.

Paul Taylor began creating “Aureole” in 1962, while the Company was based in Paris. Although, it was his 30th dance piece, it was his first major success, and a groundbreaking new work. "Aureole," has been considered the work that ushered in the Golden Age of dance.

In it Paul Taylor combined elements of ballet and modern dance in a way that is unique and unexpected. “Aureole,” has an innocence and simplicity that is both tender and soulful. It is also a perfect example of PT's style with its sweeping and soaring movements.

Unusual for the era in which it was created, “Aureole” is set to a Baroque score, excerpts of the Concerti Grossi by George Fredric Handel. "Aureole” has been dubbed his "white ballet" because the dancers are dressed entirely in white, in stark contrast to the lushness of the score and the fluidity of the dance.

See a performance of "Aureole" here.

The rest of the PTDC run, from 14 March to 1 April is at 2012 pricing. In the repertory for this spring, are three New York premieres, including “The Uncommitted.” Also there will be two much-anticipated revivals – “Junction” from 1961 and “House of Cards” from 1981. During the expanded three-week engagement., PTDC will hold its Annual Gala at the Koch on 15 March.

Master Chef Charlie Palmer of "Aureole" restaurant is getting into the festivities with a special pre-fixe menu from March 1 to April 1 on the ballet's theme, featuring a "Dance of Death" dessert and a "House of Joy" main course. There is even a vegetarian choice in honor of Gala Master of Ceremonies Alan Cummings on the bill of fare. (Click here to see more about Aureole New York.)

Pictured PTDC “Aureole” stars Michael Trusnovec and Amy Young with PTDC Gala Master of Ceremonies Alan Cumming at Aureole the restaurant with Executive Chef Marcus Ware.

Visit www.ptdc.org to learn more about Paul Taylor Dance Company.

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"

The Scottish Plays Open In April At 59E59

Not the one by Shakespeare whose name famously must not be spoken, but a new batch of plays coming directly from Scotland to kick off 2012—The Year of Creative Scotland are due at 59E59 Theaters beginning on April 4th. The celebrated playwright David Harrower will direct his “A Slow Air” which comes to NY from the Glasgow’s Tron Theatre, via a premiere at the Traverse Theatre at the 2011 Edinburgh Festival Fringe. “A Slow Air,” scheduled for a short run from April 4 through the 29th , examines the effect that the 2007 Glasgow Airport attacks have on an estranged family.

Allison Pill and Jeff Daniels in the MTC production of David Harrower’s “Blackbird.” Photo © Joan Marcus

(Find out more about David Harrower.)

“Federer Versus Murray,” a dark comedy about bereavement and war, was shortlisted for the London Fringe Theatre Writing Award in 2010 when it premiered at the Oran Mor in Glasgow. It subsequently went on the to 2011 Edinburgh Festival Fringe, where it played the Assembly Hall. “Federer Versus Murray,” written and directed by Gerda Stevenson, will run from April 4th through the 22nd. The two-hander will be produced by Communicado Theatre Company and features Gerda Stevenson and Dave Anderson.

Here's an interview with Gerda Stevenson about "Federer Versus Murray:" Click here.

In "Poetic License," Truth Is Given Some Leeway

It takes a great deal of work to scale an ivory tower.

In "Poetic License," in its New York City premiere at 59E59 Theaters through March 4th, poet and academe, John Greer (Geraint Wyn Davies) is on the verge of reaching the apex of a distinguished career.

He's had a lot of help from his ambitious wife, Diane (Liza Vann). Liza Vann's Dianne is a suburban, good-hearted Lady MacBeth-with a mordant sense of humor. Most recently, Diane has orchestrated a PBS special about John Greer, which pleases him because it means he won't have to go on a book tour.

Geraint Wyn Davies as John Greer, with Ari Butler as Edmund and Liza Vann as Diane Greer in a photo by Carol Rosegg

The TV crews have been held at bay for this weekend, however, so that John
can quietly celebrate his birthday with his daughter Katherine (Nathalie Kuhn) and her new boyfriend, Edmund (Ari Butler).

Natalie Kuhn as Katherine Greer, with Ari Butler as Edmund in a photo by Carol Rosegg

Just how things fall apart for this family is playwright Jack Canfora's well-told secret. His taut script, which won a 2011 Abingdon Theatre award, majestically weaves a web of betrayals.

Natalie Kuhn as Katherine Greer, with Geraint Wyn Davies as John Greer in a photo by Carol Rosegg

In an expert cast, Ari Butler stands out with a nuanced performance as a troubled and troubling young man. "Jesus, John." Diane says, "our daughter is sleeping with a Dickens character."

Liza Vann as Diane Greer in a photo by Carol Rosegg. “Anything is palatable,” she says, “if you’ve got the right sauce….”

Geraint Wyn Davies' John and Natalie Kuhn as his admiring daughter may have the most to lose in "Poetic License" since their trust and affection are at the center of this drama.

For more information and a schedule of performances for "Poetic License," please go to www.59e59.org.

Lincoln Center's 2012 "American Songbook" Was An Inclusive Series

Taking off at the crossroads of standards, jazz, pop, Latin and hip hop, Lincoln Center’s American Songbook has transformed The Allen Room in Time Warner Center into the classiest cabaret joint in town.

Lin-Manuel Miranda performing his work-in-progress about the First Secretary of the Treasury, Alexander Hamilton at The White House


Lincoln Center’s American Songbook has been a celebration of the varied best of our native music since 1998. This year's season ended on February 12th with a special added show by Elaine Paige.

Elaine Paige, a British star and frequent Sondheim, interpreter, is an icon musical theater.
(See video by clicking here.

Ms Paige’s recent acclaim as Carlotta in Follies precedes her. (See review of Follies at VevlynsPen.com.

The rising Broadway great, Laura Benanti told tales and sang songs in two shows on February 11th.

On opening night, January 11th, Lin-Manuel Miranda, gave the 2012 American Songbook series a rousing kick-off with excerpts from his work in progress hip-hop musical about Alexander Hamilton, whose birthday was January 11 in either 1755 or 1757.

Lin-Manuel Miranda’s mash-up of cultural phenomena over the centuries in the telling of his tale, The Hamilton Mixtape, provides a vibrant and entertaining history lesson. Inspired by Ron Chernow’s biography of the first US Secretary of the Treasury, LMM started his work on this musical in 2002. LMM’s mash-up of cultural phenomena over the centuries in the telling of his tale provides a vibrant and entertaining history lesson. Lin-Manuel Miranda did not single handedly welcome rap and hip-hop into American Songbook. For his evening at American Songbook, he brought along a strong supporting cast that included Mandy Gonzalez, Christopher Jackson, and Jon Rua, all familiar from “In The Heights.” Gavin Creel. the very talented Broadway vet, was one of the highlights in his role as the petulant King George. Rebecca Naomi Jones sang a beautiful love song from, “Helpless,” while James Monroe Iglehart joined LMM in the cathartic and energetic “My Shot.”
(See video of LMM performing the piece at the White House at from here.

Michael Cerveris, a Broadway star and Tony recipient for Sondheim’s “Assassins,” brought his extremely rarified country roots to the venue in an evening entitled “An Idea of South” on 21 Jan. Featuring some Guthrie, some traditional Americana, a Samuel Barber song set to James Agee’s “Knoxville: Summer of 1915,” as well as rollicking New Orleans stylings, it was evident that MC has traveled this country road before. The small stage filled with supporting talent including Jonathan Batiste, and singer-songwriter Paul Sanchez. For “Another Suitcase” from “Evita” MC who is set to join Ricky Martin in the revival on Broadway, was joined by Laura Cantrell, whose voice is reminiscent of the late Patsy Kline.MC’s ease on stage, and circling among the tables before the show, made for a fine down-home performance.

Was “Hello Gorgeous! Leslie Kritzer Sings Julie Styne,” this funny lady’s audition for a Broadway run? Producers recently backed off an anticipated revival of the 1964 Broadway hit “Funny Girl.” Lauren Ambrose was set to for the lead, but the backers felt that, despite plenty of theater cred, she lacked name recognition. When the production was cancelled, LK, who played Fanny Bryce at the Paper Mill Playhouse, reportedly threw her hat in the ring. LK sang three songs from “Funny Girl” in her American Songbook debut on 3 Feb. LK’s comic and vocal talents were on ample display. She even did an excellent impersonation of Liza.

Visit http://www.americansongbook.org/ to learn more about Lincoln Center’s American Songbook series so you'll be ready for next year.

"The Road To Mecca" Lights Up The Stage

These days it seems like a provocative idea to use the word "Mecca" to suggest creative freedom.

It was also provocative in the small Karoo Village in 1974 in South Africa, where Miss Helen (Rosemary Harris) taunts her neighbors in Athol Fugard's "The Road to Mecca," at Roundabout Theatre Company's American Airlines Theatre through March 4th. But for vastly different reasons than our present day associations.

Rosemary Harris as Miss Helen and Carla Gugino as Elsa Barlow in “The Road To Mecca” Photo © Joan Marcus

Miss Helen is visited by an old friend Elsa Barlow (Carla Gugino) from the more progressive areas of South Africa; Elsa is as concerned about Miss Helen's continuing to live alone as is the little town's pastor, Marius Byleveld (Jim Dale). Elsa and Marius would seem to have very different reasons for worrying over Miss Helen.

Carla Gugino as Elsa Barlow in “The Road To Mecca” Photo © Joan Marcus

The titular "The Road To Mecca" is a collection of sculptures that Miss Helen has made in her yard. To her they are symbols of hope and good will. To her more conservative neighbors they are oddities and abominations.

Jim Dale as Marius Beyleveld, Carla Gugino as Elsa Barlow, and Rosemary Harris as Miss Helen in “The Road To Mecca” Photo © Joan Marcus

Athol Fugard, who is a recipient of a Tony for Lifetime Achievement, has crafted a loving portrait of an artist. Rosemary Harris, and Jim Dale, both Tony-winning veterans, and Carla Gugino light up the stage in this play about independence of thought and action.

For more information about "The Road To Mecca," please visit www.roundabout.org.

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.

Official Website for Chinglish on Broadway. Written by David Henry Hwang :: HOME

Official Website for Chinglish on Broadway. Written by David Henry Hwang :: HOME

"Chinglish" is closing on the 29th. This gives you a couple of days to get over there and buy tickets.

"The Fall to Earth" can be very crushing

At first there is nothing ominous, just mild bickering on the other side of the motel room door.

Jolie Curtsinger as Rachel, Deborah Hedwall as Fay in “The Fall To Earth” by Joel Drake Johnson in a photo © John Quilty

But as it progresses, Joel Drake Johnson's "The Fall to Earth," at 59E59 Theaters through February 5th in its New York City premiere, is darkly funny, even grisly at times.

Deborah Hedwall as Fay with Jolie Curtsinger as Rachel in “The Fall To Earth” by Joel Drake Johnson in a photo © John Quilty

Rachel Browney (Jolie Curtsinger) and her mother Fay Schorsch (Deborah Hedwall) have come to this small town where her brother Kenny lived. The trip brings them together at a difficult time, but as we find out in "The Fall To Earth" there probably were no easy times in the Schorsch household.

Jolie Curtsinger as Rachel, Deborah Hedwall as Fay and Amelia Campbell as Terry in “The Fall To Earth” by Joel Drake Johnson in a photo © John Quilty

As Rachel and her mom learn more about what happened to Kenny, Rachel mutters "I could have been a nicer sister," to the police officer, Terry Reed (Amelia Campbell). "I could have been."

How well did either mother or daughter know him? Terry reveals some secrets about Kenny that the women may have suspected, but it is clear that the entire family have been out of touch for a long time.

Deborah Hedwall as Fay with Jolie Curtsinger as Rachel in “The Fall To Earth” by Joel Drake Johnson in a photo © John Quilty

Keeping you on the edge of your seat and thoroughly engaged, "The Fall To Earth" takes many a surprise turn as it unfolds.

"The Fall To Earth" also benefits from an excellent cast, and the deft direction of Joe Brancato, and the versatile set designs by James J. Fenton.

Jolie Curtsinger (also a producing partner at InProximity Theatre Company which is a presenter of this production) plays a wary Rachel. Deborah Hedwall, as Fay, screeches, screams, rants, hectors, cajoles, chatters and whines in a brilliant arc of dysfunction. Rachel has her own reasons to be secretive and distrustful around Fay.

For a schedule of performances, please visit www.59e59,org.

For more information about InProximity Theatre Company, which produces New York City premieres, go to www.inproximitytheatre.org

The Best of Edinburgh brings us "LEO"

Can something be both claustrophobic and celebratory?

A man, a hat, and a suitcase shown live in a very small box-like room on stage and again on a screen so that the effect is a split set, are the makings of "LEO," created by Circle of Eleven based on an idea and performed by Tobias Wegner.

"LEO," is the wordless theater piece The Carol Tambor Theatrical Foundation presents at the Clurman on Theatre Row through February 5th, as The Best of Edinburgh.

Tobias Wegner performs in “LEO,” created by Circle of Eleven Photo © Heiko Kalmbach

"LEO" offers a riff on Fred Astaire, Houdini and Laurel and Hardy.

On the screen, the lounging character, is standing against a wall in his tiny room. In "LEO" the hero, whether upright or supine, literally climbs the walls, uses strength and agility to adapt to his surroundings, and ingenuity to ultimately escape.

Tobias Wegner performs in “LEO,” created by Circle of Eleven Photo © Andy Phillipson / livewireimage

The concept-- by Wegner--, design-- set and lighting by Flavia Hevia and video by Heiko Kalmbach-- are cleverly executed with whimsy and wit.

"LEO" relies on the diverse cultural sensibility for Sinatra tunes and cartoons for its humor and charm. If it were a tad shorter it would be perfect.

Photo © Andy Phillipson / livewireimage

See a video of "LEO" at circleofeleven.de

Photo © Heiko Kalmbach

For a schedule of performances, please visit theatrerow.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

2 Short Stories for the Holidays: "Farm Boy" and "A Christmas Carol"

Michael Morpurgo is one of the UK's best loved storytellers. He is the former Children's Laureate, an OBE. Many of his books have been adapted for the stage, most recently "Farm Boy."

"Farm Boy," at 59E59 Theaters as part of Brits Off Broadway, through January 1st, intertwines the story told in the Tony winning "War Horse" in which Albert goes to France to retrieve his horse Joey from the front with the story of Albert's son, now "Grandfather" (John Walters) and great-grandson, (Richard Pryal).

Photo by Carol Rosegg From L to R:Richard Pryall (Grandson) and John Walters (Grandfather) i

In "Farm Boy," we learn that when Albert came back from WWI, everyone in the village called him Corporal. We pick up the tale with the boy from the city visiting his grandfather on the family farm.

Photo by Carol Rosegg :Richard Pryall (Grandson) and the tractor i

When the Grandfather was just a boy, his father, "Corporal," still plowed the fields with Joey and another horse until...he won the tractor.

In Daniel Buckroyd's adaptation of "Farm Boy," the tale is told mostly as a story, with Grandfather and Grandson taking turns in the telling.

"Farm Boy" runs for just about one easy-going hour.

Find out more about Brits Off Broadway, and "Farm Boy" at www.59e59.org or at www.BritsOffBroadway.com
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You'll Find More Traditional Holiday Story Telling in "A Christmas Carol"

Bah, Humbug! Here's to the Holiday Spirit. Scrooge was content to dismiss the holidays and carry on as if Christmas was just an ordinary day. He is all business and no pleasure until the spirits of the season reveal to him the error of his ways.

Charles Dickens (Jimmy Kieffer) visits Canal Park Playhouse to spin the famous Christmas yarn. The ghosts of Christmases past and future accompany him on his way.

The program will run through December 24th and you may find a complete schedule at www.canalparkplayhouse.com

"The Door" Slams

Two men are sitting in an anteroom as a door bangs incessantly.

The story they unwind in Tony Earnshaw's "The Door," part of Brits Off Broadway at 59E59 Theaters running through December 11th, seesaws in search of the truth.

Tom Cobley and Chris Westgate in “The Door” by Tony Earnshaw. Photo by Tony Earnshaw

"The whole system collapses if you don't obey orders," Boyd tells Ryan. Ryan's answer is "The whole system is pointless if you do." What appears to be random disagreement over politics, tabloids news, and the existence of God, turns out to be very personal.

Ryan (Chris Westgate) and Boyd (Tom Cobley) are waiting to justify an incident that happened during their service in Iraq.

The tension between the two men is punctuated by the explosively slamming door. "Drives you round the loddy bend, doesn't it. Round the bloody bend,"
is a refrain that gets passed from hand to hand as the noise unnerves each man in turn.

Tom Cobley and Chris Westgate in Tony Earnshaw ‘s“The Door.”. Photo by Tony Earnshaw

The taut fifty minutes play, under Anna Adams able directions, goes from Beckettian absurdity to a surprising animated ending.

For more information on Brits Off Broadway and a schedule of performances for "The Door," visit www.59e59.org.