T and B on the Aisle-- A Theater Diary

Thursday, June 7, 2012

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.

Tuesday, June 5, 2012

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.

Claire's quest leads her to visit her long-lost aunts (all played by Rogers, who also wrote the play), each of whom remember her mother differently.

Aunt Aurelia recalls her as an ethereal being. Lillian reminisces about partying and flirting. Only Aunt Lou admits to the possibility that Claire's mother may have gone mad. Unfortunately, the charm of these encounters wears thin. "I Am A Tree" quickly devolves into a pretentious ramble.

Dulcy Rogers makes too many claims for exceptionalism for Claire. Her father is a renowned scientist; her mother may have invented the fuzzy navel (for those of you not up on your bartending, equal parts peach schnapps and orange juice are the favored ingredients.) Her aunts are also extremely accomplished; Aurelia is some sort of UN ambassador, Lillian is vaguely theatrical, and Aunt Lou a cross-dressing wise woman. Many of these assertions in "I Am A Tree," which is subtitled "an unstable comedy," are in the interests of humor, of course, which is very broad.

Each aunt is a distinguishable character, or perhaps caricature, with distinct physical quirks and vocal ticks, which to be fair, Rogers pulls off well enough. High marks in this production go to Neil Patel whose minimalist set is both simple and dramatic. For more information and for tickets for "I Am A Tree", visit "Iamatreetheplay"

Wednesday, May 30, 2012

What's In A Name?: "Here I Go" and "Lonely, I'm Not"

A title can inspire, amuse, mystify, engage.

"Lonely, I'm Not," at 2econd Stage Theatre through June 3rd, truly deserves a more imaginative moniker. Playwright Paul Weitz does his fine romantic comedy a great disservice by not finding a worthier title to represent it. In fact "Lonely, I'm Not," is arguably the best of the four Weitz plays 2econd Stage has produced.

On the other hand, the title of the performance piece at 59E59 Theaters, also playing through June 3rd, "Here I Go,", conjures up a favorite Dolly Parton tune. "Here I Go" lives up to the promise, if not the spirit, that the tune inspires.

Heather (Olivia Thirlby) on a date with Porter (Topher Grace) in Paul Weitz’s “Lonely, I’m Not.” Photo © Joan Marcus.

The hooks in Dolly Parton's songs are so catchy and bouncy that it's hard to imagine them as a soundtrack for heartbreak, but in "Here I Go," Lynette, widowed at 60 (Natalie Leonard), not only has lost her husband but also had lost touch with her family.

Gates Loren Leonard, Michael Howell, Natalie Leonard in “Here I Go.” Photo © Corey Torpie.

"Here I Go" is a very engaging silent show, with a musical soundtrack, some of it live (Lynette at 16, Mariah Iliardi-Lowy, sings as does Michael Howell, billed as The Man) and a voice over narration (voiced by Julie Nelson.) Written by David Todd, "Here I Go" is a stylized performance conceived by Luke Leonard, who also directs, and set to Western sounds (designed by Michael Howell.)

In "Here I Go," Lynette revisits the highlights and low points of her life as a cowgirl, bringing to life her younger selves (along with her at 16 years old; at 8, Gates Loren Leonard; at 26, Jessica Pohlman).

Jessica Pohlman and Michael Howell in “Here I Go.” Photo © Corey Torpie.

"All I ever wanted was a few moments to myself, just to think...." Lynette says. "And then I'd put on my music and it would sound so sweet, because I had you and I had them.... But when you take it all away... the music just doesn't do it anymore."

In "Lonely, I'm Not," Porter (Topher Grace), still reeling from his divorce three years ago, has also fallen on hard times. Once he was a high-powered, hard-driving success. His father, Rick (Mark Blum), a con artist, still thinks of him as a soft touch, although he is running low on funds.

Little Dog (Christopher Jackson) with Porter (Topher Grace) in Paul Weitz’s “Lonely, I’m Not.” Photo © Joan Marcus.

Heather (Olivia Thirlby), driven by ambition and overcoming the handicap of her blindness, is enjoying a thriving career when a mutual friend in finance who goes by the name of Little Dog (Christopher Jackson) fixes her up with Porter. Their attraction is based in part on overcoming outsiderness, and the plot carries the rom-com formula through. Nonetheless, "Lonely, I'm Not" is a charming play.

Maureen Sebastian adroitly plays Porter's ex-wife, Carlotta and Heather's over-protective roommate, and her assistant. The wonderfully versatile Lisa Emery portrays Heather's concerned mother, Porter's Polish cleaning lady, Yana, and a school administrator who interviews Porter for a teaching job.

Olivia Thirlby gives a nuanced performance. Topher Grace, the Jack Lemmon of his generation, deserves a much bigger career than he has so far enjoyed. He did well in "That 70s Show," of course, and has had some movie outings, but he should be a big star, a household name, even.

Maureen Sebastian as Olivia Thirlby’s assistant with Thirlby in Paul Weitz’s “Lonely, I’m Not.” Photo © Joan Marcus.

Hurry to see these plays; they both close on June 3rd. For a schedule and avaiable tickets for Paul Weitz’s “Lonely, I’m Not,” visit www.2st.com. Go to 59e59.org.

Wednesday, May 23, 2012

It Was Often Bleak at "February House"

Stanley Bahorek as Benjamin Britten,. Ken Barnett as Peter Pears, A.J. Shively as Chester Kallmann, Stephanie Hayes as Erica Mann, Kristen Sieh as Carson McCullers, and Erik Lochtefeld as W.H. Auden shivering at 7 Middagh. Photo © Joan Marcus.

In 1940, George Davis (Julian Fleisher), had a dream of creating a communal hothouse for brilliant talents in a ramshackle Victorian on a Brooklyn hill. Davis,having published a novel to some acclaim, went on to a very luminous career as an editor.

"February House," at The Public Theater through June ~~10th~~ 17th, will appeal to lit. nerds and English majors. The musical by Gabriel Kahane (music and lyrics) and Seth Bockley (book), and direction by Davis McCallum, is based on Sherell Tippins non-fictional 2005 exploration of life at 7 Middagh Street, Brooklyn and the ragtag assortment of famous and accomplished intellectuals who resided there.

The group included Gypsy Rose Lee (Kacie Sheik) who worked on a best-selling murder mystery while boarding with George.

Kacie Sheik as Gypsy Rose Lee at 7 Middagh, Brooklyn. Photo © Joan Marcus.

Carson McCullers (Kristen Sieh), just 23 and fresh off the success of "The Heart is a Lonely Hunter," left her husband, Reeves (Ken Clark), and took up residence. W.H. Auden (Erik Lochtefeld), in a moment of abandon, took a room with his young protege, Chester Kallman (A.J. Shively.) Benjamin Britten (Stanley Bahorek) and his lover, the singer Peter Pears (Ken Barnett) reluctantly decided to join the experiment.

Auden worked with Britten and Pears on the opera "Paul Bunyon" at February House. Photo © Joan Marcus.

At "February House," Davis coaxed and coddled his charges. He exerted a flair for the dramatic and decorative, sometimes at the expense of the practical. Life at 7 Middagh Street was never dull, but often it was far from comfortable. There was plenty of booze, but not enough heat; frequent partying lead to missed deadlines.

George Davis' little experiment in communal artistry did not fare well. Gypsy Rose may have been the only one of his tenants to have produced a successful work while boarding with George. Erika Mann (Stephanie Hayes), Thomas Mann's daughter who was married to Auden, adds a little political gravitas to the house on the hill when she shows up. It is after all the middle of World War II.

A highlight of "February House" is the song "California," sung by the endearing Bengy and Peter; the score successfully blends the post-modern with California pop when the pair of resident Brits announce their departure for Hollywood.

The tone of the musical is often wistfully alegiac. Among the charms of this production, along with the cast of fine young performers, is the fact that the characters are both icons and ordinary folk.

"February House" is the first commissioned musical as part of The Public Theater's Musical Theater Initiative. To find out more, visit www.publictheater.org

Thursday, May 17, 2012

Setting Hillside Fires

Theo Stockman as Danny Mueller and Gordon Clapp as his Pop, Emil in David Rabe’s “An Early History of Fire.” Photo © Monique Carboni.

Watching things burn has an almost universal fascination. In "An Early History of Fire," at The New Group at Theatre Row through May 26th, Danny Mueller (Theo Stockman) and his friends Terry (Jonny Orsini) and Jake (Dennis Staroselsky) have graduated from setting fires on the hillside to blue collar jobs in their small mid-western hometown.

Jake is a disgruntled, misogynistic bully. Terry reflects his sweetness on everyone. "This is a nice town," he tells Danny, "with nice people in it. Why would you want to leave?" Danny yearns to escape from the town and his Pop, Emil's, (Gordon Clapp) household where he feels like the family drudge.

Devin Ratray as Benji and Gordon Clapp as Emil in David Rabe’s “An Early History of Fire.” Photo © Monique Carboni.

Emil is a self-aggrandizing narcissist, who is dependent on Danny since he lost his menial job. His ego is buoyed by the mentally challenged Benji (Devin Ratray) who doggedly accompanies in his idleness. Danny rejects his father's conventional suggestion that he finish college as a way out.

Danny is ambivalent about the rich college girl, Karen Edwards (Claire van der Boom), who fulfils his dreams of aspiration. He is both attracted and repelled by the genteel. Nonetheless, Karen and Danny get each other, even though he is not as simple as she wished when they first met.

Theo Stockman as Danny, Claire van der Boom as Karen, Jonny Orsini as Terry and Dennis Staroselsky as Jake in David Rabe’s “An Early History of Fire.” Photo © Monique Carboni

Karen, apparently an avid reader, quotes Kerouac, Salinger, and a little Ginsberg. She was looking for a bit of Lady Chatterley's experience with someone with "a strong back and a weak mind," she says. She is his ticket out even if he is only a diversion for her.

Theo Stockman as Danny, Dennis Staroselsky as Jake, Erin Darke as Shirley, Jonny Orsini as Terry and Claire van der Boom as Karen, in David Rabe’s “An Early History of Fire.” Photo © Monique Carboni

The atmosphere in "An Early History of Fire," is not especially heated. There are confrontations but their intensity is banked, and they are not full-out battles. The actors all encapsulate the thin distinctions of class in an era in small-town 1960s on the brink of monumental change.

Stockman's Danny is stolid, stumbling on a path that may give him the future for which he hopes. It's Staroselsky's Jake whose character is most combustible, hiding his sense of inferiority and misogyny behind a rakish charm. Gordon Clapp plays an Emil who has a capacity to disappoint anyone who relies on him.

Everyone in the fine cast treats the material in Rabe's excellent new play tenderly. For more information and a schedule of performances, visit www.thenewgroup.org

Tuesday, May 8, 2012

"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.

Friday, May 4, 2012

Geeks to Whales: Can Devolution Be Progress?

Evolutionary biology has somehow become controversial.

Sets and video design by Jim Findlay. Patricia Buckley as Minnie, one of the characters she portrays in “Evolution.” Photo © Russ Rowland

Darwinism battles creationism in "Evolution" at 59E59 Theaters through May 20th.

Minnie is overmedicated and living with her mother. Minnie was the bright sister, but it's Pammy whose career as an evolutionary biologist has made her the family star in "Evolution."

All three women, and Minnie's nurse Sherry, are intelligently played by Patricia Buckley, who is also the author of this funny and poignant new play.

Patricia Buckley is Pammy, an evolutionary biologist, one of the characters she portrays in “Evolution.” Photo © Russ Rowland

Sea mammals, as Pammy drolly lectures, can only be explained as land animals regressing back into the ocean. Minnie, whose name teases the word minnow, seems to be drawn to water. She may be a victim of devolution and the sea.

Jim Findlay's sets and video designs for "Evolution." project dynamic marine scenes, enhancing the production.

Meanwhile, downtown on Here's stage, the New York Neo-Futurists present "You Are In An Open Field" on Thursdays -Saturdays through May 19th.

Steven A. French and Cherylynn Tsushima. Photo © Anton Nickel Marta (Marta Rainer) in "You Are In An Open Field" has a similar compulsion to Minne in "Evolution" for breathing under water. Marta is one of the geeks riffing on game theory in this musical slash video game entertainment.

"You Are In An Open Field" is written and performed by Kevin R. Free (Kevin), Marta Rainer and Adam Smith (Adam) and Eevin Hartsough. Rounding out the cast are Steven A. French (Actor) and Cherylynn Tsushima (Dancer) who add to the air of absurdity and whimsy. Music is created by the Neo-Futurists' frequent collaborator Carl Riehl who leads a live hip hop band. Christopher Dippel directs this off-beat and amusing theatrical event. To download tracks from the New York Neo-Futurists new musical "You Are In An Open Field" go to SoundCloud. Two songs, "I'm The Boss" and "Do It," are available on SoundCloud at the direct link http://soundcloud.com/ny-neo-futurists/sets/music-from-you-are-in-an-open. Visit www.59e59.org for a schedule for "Evolution."

To find out more about "You Are In An Open Field", visit www.here.org

Thursday, April 26, 2012

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.

Alsop is as guarded about his personal life as he is aggressive in his professional activities. Joseph Alsop's was a liberal's conservative, anti McCarthy, and as excited by the Kennedy presidency as he was hostile to LBJ's good ole boy politics. He called both the Cold and Vietnam Wars all wrong but stayed the course even as his patrician accent and bespoke wardrobe went out of fashion. His gleeful quest for power and influence made him a much less reliable witness to history than his brother and one-time writing partner, Stewart (Boyd Gaines.)

John Lithgow as Joseph Alsop with Boyd Gaines as Stewart Alsop Photo © Joan Marcus.

Everyone in the cast of "The Columnist" is excellent, with John Lithgow in the lead giving an affecting portrayal of the work-aholic newspaperman. Grace Gummer, as Susan Mary's daughter Abigail, makes the most of her role as a foil to her stodgy stepfather.

Stephen Kunken-as David Halberstam with Boyd Gaines as Stewart Alsop Photo © Joan Marcus.

While "The Columnist" has a steady foothold in the machinations of Washington politicking, Matt Charman's "Regrets." at MTC's NY City Center Stage I through April 29th, takes a regrettable detour into McCarthy-era politics.

TONY NEWS: or is it? John Lithgow is a nominee for 2012 Best Actor in a Drama!

In "Regrets," a group of men camp out in a Reno bungalow colony to establish residency. They are each bruised by their broken marriages. Mrs. Duke's (Adriane Lenox) cabins are a way-station for their lost souls.

Adriane Lenox as Mrs. Duke and Ansel Elgort as Caleb Farley in “Regrets.” Photo © Carol Rosegg. "Regrets" delves into a different kettle of secrets than those of "The Columnist." The twist that turns "Regrets" onto a political pathway is either inspired or unnecessary-- depending on your point of view. The horrors of hiding from McCarthy are real enough, but in this reviewer's opionion, they lend an air of unreality to this pleasant and interesting drama about the relationships of unmoored men. Ben Clancy (Brian Hutchison), Gerald Driscoll (Lucas Caleb Rooney), and Alvin Novotny (Richard Topol) welcome the newcomer, Caleb Farley (Ansel Elgort) with the wariness of those trapped far from home.

Brian Hutchison as Ben Clancy, Ansel Elgort as Caleb Farley, Richard Topol as Alvin Novotny and Lucas Caleb Rooney as Gerald Driscoll in “Regrets.” Photo © Carol Rosegg. The cast all give sterling performances, but the rookie, Ansel Elgort, making his professional debut, is definitely a stand-out. For more information on "The Columnist" , please visit http://www.manhattantheatreclub.com/ where you will also find videos from the production. To get tickets for "Regrets" before it closes on Sunday, go to http://regretsplay.com/

Wednesday, April 25, 2012

A New Gershwin Musical Is "Nice Work" Indeed

Ira and George Gershwin are the rare pair of musicians who can posthumously launch a Broadway hit.

"Nice Work If You Can Get It," at the Imperial Theatre in an open run, is a brand-new old musical, reworked by Joe DiPietro (2010 Tony for "Memphis".) DiPietro's script was inspired by material from Guy Bolton and P.G. Wodehouse who collaborated on the book for the Gershwin's 1926 "Oh, Kay!"

In "Nice Work If You Can Get It," Matthew Broderick plays the endearingly inept Jimmy Winter, a playboy on the verge of his fourth marriage. Kelli O'Hara is the tom-boyish bootlegger Billie Bendix.
(To see videos from the musical, click here.) With the police, in the person of Stanley Wayne Mathis as Chief Berry, and Senator Max Evergreen (Terry Beaver) with his prohibitionist sister, Duchess Estonia Dulworth (Judy Kaye) on their trail, Billie and her crew, Cookie McGee (Michael McGrath) and Duke Mahoney (Chris Sullivan) need a place to stash 400 cases of contraband booze. Jimmy's seldom used Long Island mansion has a cellar that looks to be the perfect spot.

Joe DiPietro toys with the romantic comedy formula so that the expected happy endings offer some neat surprises. And even when you see it coming, the plot is bolstered by a tune aptly plucked from the rich Gershwin canon. "Nice Work...' is completely adorable. Matthew Broderick's guileless charm makes you feel at home in Jimmy's "Ritzy Beach House."

Kelli O'Hara, last seen as Nellie Forbush in

South Pacific

, is a big talent with a lovely voice and a natural ease on stage. Broderick's pleasant voice is buoyed by his castmates, many of whom give superb performances. The gypsies, dancing and singing in support of the main characters, under the direction and with choreography by Kathleen Marshall, are all excellent. The jazz era costumes by Martin Pakledinaz are resplendent and colorful.

Estelle Parsons is very funny in a near-cameo as Jimmy's mother Millicent Winter. Robyn Hurder is delightful as Jeannie Muldoon, the chorus girl who longs to be the queen of England. Other outstanding members of the large ensemble cast are Michael McGrath whose gangster character goes undercover as the butler. Judy Kaye exercises her full range of voice and comedic skills, and some acrobatics, as the teetotalling Duchess Estonia.
"Nice Work If You Can Get It" ..."and you can get it, if you try."
For more information on "Nice Work If You Can Get It," please visit their website. /More shortly.....

Tuesday, April 24, 2012

"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.

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.

Thursday, April 19, 2012

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.

Wednesday, April 11, 2012

Year of Creative Scotland 2012: A Festival

Gerda Stevenson, playwright, director, actor (as Flo) and-Dave Anderson (as Jimmy) in “Murray Versus Federer.” Photo courtesy Communicado Theatre Company

Who doesn't like a festival? Embedded int he word is the possibilty of a happy-- okay, festive-- occasion. Everybody enjoys a celebration. What we are celebrating at 59E59 Theaters' "Scotland Week" are a couple of Scotland's fine playwrights and their supporting casts. The plays, "A Slow Air" by David Harrower, running through April 29th, and Gerda Stevenson's "Murray Versus Federer," on stage through April 22nd, are serious, even grim affairs. The latter about a couple, grieving over the loss of a son in war, and at war with each other. The former about a pair of siblings that have been estranged for the past fourteen years.

That is not to say that there is not plenty to celebrate here.

While "Murray Versus Federer" is written in short-hand, like the radio plays Stevenson scripts for the BBC, it is an intelligent and moving tale. It needs more time to pursue its subject in depth and allow its characters their full development, but what it gives us is subtle and well-written.

Grief is personal even when it's shared. In "Murray Versus Federer," Flo (Gerda Stevenson, also the writer and director), and Jimmy (Dave Anderson) are rent asunder in their bereavement. Their differences in temperament are underscored by their loss. Resentments lead them to blame each other.

"Well, tell me this, Mr. Expert," Flo says, "how come you kept yer mooth shut when Joe joined up? How come ye didnae dae yer schoolboy homework then, eh?" Jimmy explodes back at her "I'll no keep ma mooth shut just to keep a phoney fuckin peace in this hoose, a phoney fuckin peace that's packed wi lies. My son died fur lies, lies!" In "Murray Versus Federer," Flo and Jimmy share the stage with the memory of Joe, a Saxophonist (Ben Bryden), who alternately plays sad, soulful and jazzy tunes between the five short scenes.

"Murray Versus Federer," despite its brevity and because of the excellent acting, is affecting and intimate. The set by Jessica Brettle turns the small space into an elaborate living room with the catty-corner walls providing both background and a scrim behind which the Saxophonist is introduced.

In "A Slow Air," the siblings long estrangement is temperamental as much as circumstantial. Athol (Lewis Howden)is a steady hard-working bloke whose built a business in construction and lives in the suburbs. His sister, Morna (Susan Vidler) is a free-spirited and rebellious single mother who cleans rich folks' houses. Like the dimly lit stage it occupies, "A Slow Air" fails to illuminate any of the many themes on which it touches.

Susan Vidler as Morna and Lewis Howden as Athol, across a divide created by Jessica Brettle's set design in “A Slow Air,” written and directed by David Harrower. Photo © John Johston.

"A Slow Air" is structured as a double monologue. On the darkened stage (lighting by Dave Shea), in "A Slow Air" Jessica Brettle has designed a simple set on a roughly tiled floor that divides the two monologists. There is a high window on the back wall, and two wooden armchairs to which Athol and Morna withdraw like boxers into their corners.

For more information about the nearly month-long Scotland Week at 59E59 Theaters, please visit their website at www.59E59.org.

Wednesday, April 4, 2012

The Music of Violins

Sometimes the truth can seem so fantastic that it makes for a great story.

Mary Beth Peil as Erica in a photo by James Leynse

After a slightly slow start, "The Morini Strad," in a New York premiere at Primary Stages at 59E59 Theaters through April 22nd, just begins to hum beautifully. Willy Holtzman's play is based on truth but it is fantastic in all the best senses--odd and imaginative; the characters "The Morini Strad," get a grip and hold on tight.

Michael Laurence as Brian with Mary Beth Peil as Erica in a photo by James Leynse

Erica (Mary Beth Peil), once a child prodigy, has only memories of her great performances (enacted by violinist Hanah Stuart) and her Davidoff violin. Age has diminished her capacities. No longer able to play, she is difficult, even unpleasant to everyone-- especially to the students she takes on. She invites Brian (Michael Laurence), a luthier, to come to repair the violin.

Hanah Stuart, Mary Beth Peil and Michael Laurence in a photo by James Leynse

Exacting and embittered, Erica asks Brian to sell the Strad. Beguiled by the promise of a huge payday, Brian invests his hopes and time in what may prove to be a futile endeavor.

Mary Beth Peil and Michael Laurence (with Hanah Stuart top) in a photo by James Leynse

Peil and Laurence beautifully play out the improbably affectionate relationship that develops between Erica and Brian. They give utterly believable and very moving performances.

Michael Laurence as Brian in his workshop. Photo by James Leynse

For tickets and a schedule of performances, please visit www.primarystages.org.

Tuesday, April 3, 2012

A Feast Awaits

So much of our lives play out around dining tables, often even at non-descript restaurants.

Phoebe Strole, Cameron Scoggins, Jennifer Mudge, Anita Gillette, Tom Bloom. Photo by Joan Marcus
Dan LeFranc's "The Big Meal," at Playwrights Horizons in an extended run through April 22nd, has an unusual structure, without being in any way avant-garde or revolutionary. It simply stretches an extraordinary timeline, covering some eighty years in a family's life. In "The Big Meal," LeFranc chronicles a family over many seatings at a generically favorite restaurant.

David Wilson Barnes, Jennifer Mudge, Anita Gilette, Tom Bloom, Rachel Resheff. Photo byJoan Marcus.

The writing, the acting, the pace of the direction, all tell this engaging story that begins with Nicky (Phoebe Strole in this incarnation) and Sam (Cameron Scoggins) on their first dates. They meet, flirt, fight, and eventually reconnect, older (Jennifer Mudge is now Nicky with David Wilson Barnes playing Sam) and ready to commit. Sam and Nicky hang in over many more drinks and dinners, bringing their kids, Maddy and Robbie (Rachel Resheff and Griffin Birney) out to eat with Sam's parents, Alice (Anita Gillette) and Robert (Tom Bloom.)

Carmeron Scoggins, Phoebe Strole. Photo by Joan Marcus

The actors rotate into the characters as they age, picking up the nuances from generation to generation. "We really started something," Anita Gillette says late in "The Big Meal."

Anita Gilette,Molly Ward, Tom Bloom. Photo by Joan Marcus

"The Big Meal" is delightful in its simplicity and authenticity. For tickets and information about "The Big Meal," go to www.playwrightshorizons.org.