There is that moment, when the house is dark and just before the curtain rises, that sends a small shiver down your spine. Let's capture that moment together!
Lights dim, the curtain goes up. Suddenly, we are transported into the imagination of a playwright and actors we do not know! The stage is set for magic and fireworks.
There is an exhilaration to flying above the clouds that is like no other sensation.
It is the romance of flight that anchors "North," at 59E59 Theaters in a for/word company production through October 28th. The characters in "North" are real, the story drawn from a wealth of printed materials.
Anne Morrow Lindbergh (Christina Ritter) was an accomplished and complicated woman. She was a writer, and mother, the daughter of an ambassador, and wife of a celebrity aviator. She was, also, a pilot in her own right. She and her husband Charles (Kalafatic Poole) suffered a very public and hideous loss when their first born was kidnapped and killed.
"North" is Anne's story; it's style is narrative and suggestive. "This is not an adventure," Anne says, as she relates her meeting with the author/aviator Antoine Saint-Exupèry (Christopher Marlowe-Roche.) "And only in the most accidental and superficial sense can it even be called a flying story. Fundamentally," she ends, "it is simply a woman's story."
"North," conceived by Christina Ritter and Jennifer Schlueter and written by Jennifer Schlueter, does not allow its thorough, well-researched documentation to undermine the gentle lyricism of the play.
The spare set by Brad Steinmetz of three swings and a ladder shelf hints at the playful in tribute to St-Ex's imagination and Anne's desire to soar with him.
"North" exudes a giddy seriousness, illuminating the factual with a quiet emotional certitude.
For more information and tickets for "North,"please visit www.59e59.org.
The titular and unseen "HIM" in Daisy Foote's new play, in a Primary Stages production at 59E59 Theaters through October 28th, leaves volumes describing the pleasure he felt sitting on a mountaintop.
Hallie Foote as Pauline and Tim Hopper as Henry in "HIM" at Primary Stages. Photo by James Leynse.
Quiet contemplation is the antithesis of the hubbub of family life. In"HIM." his children see only a remote and withdrawn man. It's not entirely satisfying that so much of the story of "HIM" is pegged to this mysterious disconnection, to what was unknown or unknowable about their father. Nonetheless, there is so much humor and humanity in "HIM" that the emotional characterizations ring true and clear.
The eldest, Pauline (Hallie Foote) harbors deep resentful hatred for the father she does not understand because of the poverty in which the family has lived. She is ambitious, acquisitive and envious of her better-off neighbors.
Adam LeFevre as Farley and Tim Hopper as Henry in "HIM." Photo by James Leynse.
"We don't have lives," she tells her brother Henry (Tim Hopper), "we have existences." Pauline's burdens which include caring for their retarded brother, Farley (Adam LeFevre), his girlfriend Louise (Adina Verson) and a failing family business are brightened by an unexpected inheritance. Meanwhile, looking for a glimmer of understanding of their father's legacy, Henry wonders, as he reads the journals his father left behind, "What was he reaching for when he died?"
The small and accomplished cast, ably led by director Evan Yiounoulis, polish the jewel-like dialog in "HIM" to a fine sheen.
Primary Stages is celebrating the Foote Family Legacy this season. So far, they have given us Horton Foote's closely observed vignettes of life in "Harrison, TX" and his daughter Daisy's skillful look at a misappropriated legacy in "HIM." Hallie Foote, the other family treasure, has her deft and subtle acting to both productions.
For more information about Primary Stages and this production of "HIM," visit www.primarystages.org
In "Through The Yellow Hour," at Rattlestick Playwrights Theater through October 28th, playwright and directorAdam Rapp visits an apocalypse on New York City.
Everything in "Through The Yellow Hour" is site specific. The city has been attacked by the Egg Heads, who are systematically killing off the populaton. Ellen (Hani Furstenberg) is holed up in her East Village apartment, waiting for her husband Paul to return. She is the ultimate survivor, trading for foodstuffs and drugs through a network outside her well-fortified door. The first of the nightmares from outside creeps in through a window and ends as the Dead man (Brian Mendes), slumped on the floor for the rest of the play.
There is safety in Pennsylvania, as Maude (Danielle Slavick) tells her when she drops off her baby girl in exchange for a fix. "There are barges you can get on. They’re traveling south along the shallows of Lake Erie," she says. When Ellen responds that her plans for escape are "risky," Maude says "No riskier than staying here." Gunfire and the occasional explosion punctuate the dialogue, in "Through The Yellow Hour," like a soundtrack of terror, designed by Christian Frederickson.
The end of times vision in "Through The Yellow Hour" is further accentuated by the elaborately derelect sets by Andromache Chalfant, and moody lighting of Keith Parham. This is a mesmerizing and puzzling drama, with a superb cast led by Hani Furstenberg.
With seventy years of dance-making from which to choose, Paul Taylor Dance Company has many
highlights to celebrate.
"Company B" is a personal favorite. Photo by Paul B. Goode
The 2013 PTDC season, starting March 5th at the David H. Koch Theatre at Lincoln Center, gives us the world premiere of Taylor's 138th work and a New York premiere of "To Make Crops Grow," just as part of the festivities. Can't tell you what this pieces look like, but you know they will have all the pop and eclecticism for which Paul Taylor is famous.
On March 6th, the 25th anniversaries of "Speaking in Tongues" and "Brandenburgs" mean $5 seats for all! PTDC also brings back "Scudorama" on its 50th anniversary in this year's program.
Photo by Paul B. Goode. "Scudorama" is set to music by Clarence Jackson.
See Taylor's take on the scandalous 1913 Stravinsky-Nijinsky collaboration, "Le Sacre Du Printemps." The Taylor version is "Le Sacre Du Printemps (The Rehearsal)" set to a two piano version of Stravinsky's music.
Sometimes it seems like it's hard enough to know who we are when no one has deceived us about our identity.
Kathleen Chalfant as Rose and Alfredo Narciso as Michael in "Red Dog Howls." Photo by Joan Marcus.
In "Red Dog Howls," an elegiac new play by Alexander Dinelaris, at New York Theatre Workshop through October 14th, a young writer stumbles onto a devastating family history.
After his father's death, Michael Kiriakos (Alfredo Narciso) follows the return address on letters left in a box under his father's bed to an apartment in Washington Heights. There he meets Rose Afratian (Kathleen Chalfant), the author of this unread correspondence.
Florencia Lozano as Gabriella Kiriakos and Alfredo Narciso as Michael Kiriakos in "Red Dog Howls." Photo by Joan Marcus.
With Rose as his guide on his journey to self-discovery, Michael neglects his pregnant wife, Gabriella (Florencia Lozano.) "There are some sins," Michael tells the audience as "Red Dog Howls" opens, "from which we can never be absolved."
The disturbing and shocking in "Red Dog Howls" is softened by the humanity of its characters. The astonishing Kathleen Chalfant reaches deep in to reveal a raw and harrowing emotional energy.
The Armenian Genocide of 1915 is a touchstone for a personal story of heritage-found in "Red Dog Howls." Dinelaris, along with his excellent cast, and with the aid of director Ken Rus Schmoll, paints an absorbing tale of great scope in short intermissionless ninety minutes.
For more information and tickets for "Red Dog Howls," visit http://www.nytw.org/.
Neighbors used to be more than just the folks who live next door. They were the people with whom we shared a community, a way of life, a neighborhood.
As Lisa D'Amour's "Detroit," at Playwrights Horizons through October 28th, begins, the welcome mat is extended in that old-fashioned neighborly way.
John Cullum in "Detroit" in a photo by Jeremy Daniel.
Ben (David Schwimmer) and Mary (Amy Ryan) invite the young couple who've moved in next door for a barbeque. Thanks to the friendship they develop with Ken (Darren Pettie) and Sharon (Sarah Sokolovic), their lives seem a little less lonely. Suburbia is an isolating environment, and the one we visit in "Detroit," thanks to the inspired set designs by Louisa Thompson, is nearly desolate.
Sarah Sokolovic, Darren Pettie, Amy Ryan & David Schwimmer in a scene from "Detroit." Photo by Jeremy Daniel
Ken and Sharon are open about their lives and their addictions. Ben, recently laid off, is building a website for the business he wants to start. Sharon works in a call center. The couples engage with each other, sharing their life stories as neighbors do, over the next several months.
But there is a dark side to each of them. Darren Pettie is especially creepy showing off his while Amy Ryan's Mary is so fragile that she can barely open the sliding door to the porch. John Cullum's Frank comes in like a "deus ex machina" to tie up the loose ends for us, but by then, the damage has been done.
Photo by Jeremy Daniel. Darren Pettie, Amy Ryan, David Schwimmer & Sarah Sokolovic.
The writing in "Detroit" is natural. The acting is uniformly excellent. Bring some chips, and join the party.
Grace and gentility can attach to anyone in any station in life. It is not reserved for the well-born.
Such sentiments are mostly foreign to us in what we like to consider our egalitarian society, but they are fitting for a long lost English play from 1911 like"Mary Broome," revived by The Mint Theater Company through October 21st. In Allan Monkhouse's sharp comedy/drama, the titular servant has more class and sense than her masters.
The family gather in the parlor: Kristin Griffith as Mrs. Timbrell, Julie Jesnick as Sheila Ray, Katie Fabel as Ada Timbrell, Rod Brogan as Edgar Timbrell, Janie Brookshire as Mary Broome, Graeme Malcolm as Edward Timbrell, and Roderick Hill as Leonard Timbrell in Allan Monkhouse's "Mary Broome," at the Mint. Photo by Carol Rosegg.
Leonard Timbrell (Roderick Hill), the youngest in an affluent family and a ne'er do well , is the least likeable of many flawed characters in "Mary Broome." Leonard's mother, Mrs. Timbrell (Kristin Griffith) is the only one in the family who seems almost beyond reproach.
Janie Brookshire, Roderick Hill and Kristin Griffith in a photo by Carol Rosegg.
Leonard has charmed and seduced the Timbrell's otherwise sensible parlor maid, Mary Broome (Janie Brookshire.) When his father, Edward (Graeme Malcolm) insists that they marry in exchange for a handsome stipend, Mary reluctantly, and against her better judgement, agrees.
Leonard's brother Edgar (Rod Brogan), his fiance Sheila (Julie Jesnick) and their sister Ada (Katie Fabel) are displeased at having a maid as an in-law. Mrs. Timbrell alone welcomes Mary whole-heartedly. She also hopes that Mary will have a salutory affect on her son.
Leonard's constant disclaimers that he is "a beast" become cloying, disingenuous and self-serving. He is a self-centered cad. Mary, and even his very forgiving mother, eventually catch on to his slippery lack of integrity. Roderick Hill, to his great credit, is not looking to be likeable.
In "Mary Broome," we have snobs and humbugs on the one hand, and a wastrel and bounder on the other, flanked by the women who sometimes find him endearing.
The excellent production, led by director Jonathan Bank, and with piquant sets by Roger Hanna, balances the comic with the serious briliantly. The cast are flawless, even if their characters are not.
The Mint, whose motto is "Lost Plays Found Here," has unearthed another gem.
Swing, swing, swing is in the air as the fabulous Andersons give a tribute to Tommy and Jimmy Dorsey at 59E59 Theaters through October 7th. "The Anderson Twins Play The Fabulous Dorseys" is set to snippets from the film "The Fabulous Dorseys" with a charmingly cornball script by the brothers Will and Pete.
Pete Anderson, Jon-Erik Kellso, Kevin Dorn and Will Anderson in "The Anderson Twins Play The Fabulous Dorseys" at 59E59 Theaters. Photo by Lynn Redmile.
The battles between siblings Tommy and Jimmy Dorsey are echoed on the bandstand by Pete and Will. The brothers Anderson, who also offer a standard Thursday night performance in the E-Bar at 59E59, talented musicians on the clarinet, sax and flute, are backed by their sextet in this cabaret production of "The Anderson Twins Play The Fabulous Dorseys."
For more information and tickets, go to www.59e59.org.
Katie Tumelty and Tara Lynne O'Neill in Marie Jones' "Fly Me To The Moon." Photo by Vinnie Loughran
Fans of Hitchcock's "The Trouble With Harry" or "Waking Ned Divine" can take heart in Marie Jones' "Fly Me To The Moon."
Loretta Mackie (Tara Lynne O'Neill) and Francis Shields (Katie Tumelty) are community care workers, which translates roughly as nurses' aides, for Davy Magee, a lonely bloke who loves Sinatra tunes and needs round the clock assistance.
Katie Tumelty as Francis and Tara Lynne O'Neill as Loretta share a lighter moment after Davy's gone.
Photo by Vinnie Loughran
Well-intentioned, overworked and underpaid, the two spend their days with their charge, running errands for him to place the occasional bet with his bookmaker or pick up his government check. Francis, a bit of a self-centered schemer, left on her own when Loretta is late, takes Davy into the toilet from which he doesn't emerge. It's Monday, the day Loretta picks up his check, Francis goes to the bookies for any winnings.
And there-in lies the plot of "Fly Me To The Moon." Francis and Loretta get in deeper and deeper. "Well there is no turnin' back now is there?," Francis says. "You didn't tell her he was dad, so according to her [the nurse on the phone] Davy Magee is still alive. Why did you not tell her he was dead?" Loretta's answer: "I was scared."
"Fly Me To The Moon" mines the thin terrain of this not entirely original premise. Katie Tumelty and Tara Lynne O'Neill exhibit well seasoned comic timing. Tara Lynne O'Neill's Loretta lets greed and need get the better of her good-nature.
Loretta and Francis shift through Davy's few belongings. Photo by Vinnie Loughran.
For more information on "Fly Me To The Moon," visit www.59e59.org.
Some images are dear to us because they represent human ingenuity, resilience and resourcefulness. For this reviewer, one such is The Little Tramp making spaghetti of his shoelaces, but just the iconic silhouette is enough to bring fond remembrances.
Rob McClure as Charlie Chaplin in "Chaplin The Musical." Photo by Joan Marcus
The Little Tramp was, of course, Charlie Chaplin's alter ego in enumerable silent films (and one talkie.) Chaplin's life was far more complex. In "Chaplin The Musical," enjoying an open run at the Barrymore Theatre, Charlie Chaplin's (Rob McClure) story is laid out from his beginnings to his Academy Award acceptance in 1972. His is a tale of dignity and political activism, personal failings and professional successes.
Rob McClure as Charlie, Zachary Unger as Young Charlie/Jackie Coogan, and Christiane Noll as Hannah Chaplin. Photo by Joan Marcus
"Chaplin The Musical" is definitely Rob McClure's big moment. His performance shows a far more nuanced Charlie than the bare bones of the script outline (book by Christopher Curtis and Thomas Meehan.). Ambitious, and talented, with a vision of the world instilled in him by his mother, Hannah (Christiane Noll) as a boy (Zachary Unger plays the Young Charlie) before her descent into madness, Chaplin was stubborn and arrogant, Although his fame supported his grandiosity, one of his four young wives describes him in passing to a too-interested Hedda Hopper (Jenn Colella) as difficult.
Rob McClure as Charlie with Erin Mackey as Oona O'Neill in a photo by Joan Marcus
The first of these four women, Mildred Harris (Hayley Podschun), who at seventeen had the wiles to trick him into marriage, is lovingly portrayed and beautifully played.
Rob McClure as Charlie with Wayne Alan Wilcox as Sydney Chaplin. Photo by Joan Marcus
The last, Oona O'Neill (Erin Mackey) sacrificed family (her difficult father was the great playwright Eugene) for "What Only Love Can See," as Christopher Curtis music and lyrics put it, in marrying the much older Chaplin. The couple retired to Switzerland where Chaplin lived out his exile until the Academy honored him with an Oscar in 1972 for his Lifetime contributions to the cinema.
Lisa Gajda, Rob McClure, Emily Tayra in a scene from "Chaplin The Musical." Photo (c) Joan Marcus
Rob McClure is supported by a superb cast,-- Broadway veterans like the excellent Christiane Noll and Michael McCormick (who plays Mack Sennett and a bit part as Chaplin, Sr, and United States Attorney General McGranery), and the less seasoned, like Wayne Alan Wilcox as Charlies brother Sydney, to name a few-- all of whom contribute to make "Chaplin The Musical" an extremely entertaining evening of theater.
Chaplin's biography is a big-story, and "Chaplin The Musical" is no less ambitious than its eponymous subject. Unfortunately, the play does not rise to the grand scope it sets for itself, getting stuck in lovely and touching sentimentality. The songs are catchy, without being memorable; they seem to require too limited a range from the fine singers. "Chaplin The Musical" never gets past seeing The Little Tramp as a biographer of his own sad tale.
It is not unusual for Sam Shepard to baffle even the most intent or admiring observer of his work. The Pulitzer Prize winning playwright knows his way around troubled families.
In "Heartless," his mystifying tale of a family at- home with its dysfunction, at the Pershing Square Signature Center extended through September 30th, nothing is permanent, not even death.
Betty Gilpin as Elizabeth and Julianne Nicholson as Sally in Sam Shepard's "Heartless." Photo (c) Joan Marcus.
There is the suggestion in "Heartless" that dysfunction is a natural state of affairs for families. That despite the fact that very little is normal in this household. Sally (Julianne Nicholson) has been saved by the implant of a murdered girl's heart. Her sister, Lucy (Jenny Bacon) indulges in the futility of curing their mother, Mabel (Lois Smith) of imaginary pains. To complicate matters, Sally has brought Roscoe (Gary Cole), a man estranged from his wife and children, home with her.
Gary Cole as Roscoe, Betty Gilpin as Elizabeth, Lois Smith as Mabel, Jenny Bacon as Lucy (on roof), and Julianne Nicholson as Sally in "Heartless." Photo (c) Joan Marcus.
"Heartless" is a confounding dramatic piece with a majestic breadth reflected in the set. The sparse yet expansive scenic design by Eugene Lee creates a vast landscape on which the story is played out. Daniel Aukin's able directing of the fine ensemble cast respects the disjunctive rhythms of "Heartless."
Lois Smith stands out in this fantastic panoply of actors. "Heartless" is, after all, also about the kind of cruelty that is typical of mother-love. Mabel is fiercely protective of Sally, who needs saving from night terrors and bad memories, and maybe even the accident of living.
Explosive love affairs sometimes turn into even more explosive marriages.
In "Tender Napalm," at 59E59 Theaters through September 9th, man and wife take turns abusing each other. Bombast and bragging rights are frank and fertile ground for the ugly wreckage of their marriage.
Ameila Workman and Blake Ellis in Philip Ridley's "Tender Napalm"
They are embittered by the tragedy that has torn what love there may have been between them asunder. Their fighting and feuding goes well beyond the standard in its bile and brutality.
"Tender Napalm" is not an easy drama to watch or listen to, with its vituperations and imaginings. You don't want to get caught in the crossfire between Amelia Workman's and Blake Ellis's angry characters. Their exchanges are toxically foul-mouthed, even in an era of shameless liguistic free-for-all.
Just the two of us: Come hear what NYU Professor Steve Nelson has to say about Paul Taylor's duets and how they fit into the stream of his work. This free Take on Taylor humanities series program is on Thursday, September 20, from 7 to 8 pm at the Taylor Studios at 551 Grand Street on Manhattan’s Lower East Side. Everyone is invited for the discussion and to see Taylor 2 in action.
Steve Nelson, in addition to his role teaching musical theater and popular entertainment at NYU, is the producer of the Songwriter Series for the Library of Congress which releases recordings of songwriters performing their own material. Prof. Nelson is the author of "Only A Paper Moon: The Theater of Billy Rose," and an editor on "The Complete Lyrics of Frank Loesser." His presentation will be interspersed with performances from Taylor 2, a company of just 6 performers who travel around the world demonstrating Paul Taylor's dance style.
In Public Theater news, "Into The Woods" is set close out the summer at the Delacorte Theater in Central Park season, and tickets for the [indoor] 2012-13 season at the Public's revitalized downtown home are on sale. The Public's renovation of its Astor Place digs cost $40million and includes revamped spaces and on-premises restaurants. Colman Domingo's "Wild With Happy" will usher in the Fall programming in October. You may get single tickets at the box office at 425 Lafayette Street, by phone at 212.967.755 or at www.publictheater.org.
Tony Award nominee Jayne Houdyshell (for Follies and Well) speaks about her current role in "Harrison, TX: Three Plays by Horton Foote" at Primary Stages.
The places in which we grew up have stories to tell.
At least that's true if you're Horton Foote, whose first play, "Texas Town" was produced off-Broadway in 1941. And his favorite Texas town was the fictional "Harrison, TX" which stood in for his birthplace of Wharton in many of his plays.
In "Harrison, TX: Three Plays by Horton Foote," a bundled compiliation of works written at different times, at Primary Stages at 59E59 Theaters through September 15th, Foote's subtle and sincere character sketches are minutely drawn. Each play on the program quickly captures the essence of its characters.
The accomplished cast, led by Horton Foote's eldest daughter, Hallie (a Tony-nominee for her work in her father's "Dividing The Estate," which premiered at Primary Stages before its Broadway transfer), convey the poignancy and humor in these brief tales. This production is something of a family affair, featuring Hallie Foote's husband, Devon Abner, himself a veteran of other Horton Foote productions and an ensemble many of whom have also appeared in other Foote plays.
The first of the three plays is the sweetly funny "Blind Date," which has Dolores (Hallie Foote) fussing over her truculent niece, Sarah Nancy (Andrea Lynn Green.) Green's clumping Sarah Nancy is delightful.
There are some particularly sharp insights into the avuncular C.W. Rowe (Jeremy Bobb), the executive in "The One-Armed Man," part two on the bill, whose sense of charity is shaded by his self-importance.
"The Midnight Caller" is a wistful look at winners and losers in love. In it, Miss Rowena Douglas (Jayne Houdyshell) is incurably romantic, staring at fireflies and the harvest moon from the windows of the boarding house she shares with two other women. Alma Jean Jordan (Mary Bacon) and "Cutie" Spencer (Andrea Lynn Green, showing her versatility), stenographers in the local courthouse, each resigned in her own way to spinsterhood. When their landlady, Mrs. Crawford (Hallie Foote) takes in new boarders, Helen Crews (Jenny Dare Paulin) and a gentlemen, Mr. Ralph Johnston (Jeremy Bobb) scandal enters their parlor. Helen's former lover, Harvey Weems (Alexander Cendese) crys out into the night for a love lost while another love blossoms.
Everything in the Pam McKinnon-helmed production is dry and spare. Marion Williams has made some excellent choices in the scenic design, using a simple and versatile staircase to help delineate and define the small space in each of the three short works. The costumes by Kate Voyce elegantly reflect the time periods - 1928 for the first two and 1952 for the last- of each story.
Understanding the heart and soul is an attribute of the greatest philosopher-writers. It's not for nothing that Horton Foote has been referred to as the American Anton Chekhov. He is plainspoken and straightforward, yet sees the nuances and foibles in humanity.In 1996, Foote was inducted into the Theatre Hall of Fame, just one among his many honors which included two Academy Awards and a Pulitzer.
To find out more about "Harrison, TX: Three Plays by Horton Foote," please visit http://primarystages.org/
Darian Dauchan in "Death Boogie" with music by The Mighty Third Rail
You have to go a little further these days to deliver cutting-edge. Tricks of the trade from happenrings and multi-media presentation to theater of the absurd have become standards in all staged productions, and not just the experimental ones.
Playwrights reciting monologues, incorporating video into their stories, engaging -- or surrounding-- the audience are all part of the main stage and the "fringe" scene. These days, it's probably content more than style that distinguishes "fringe" entertainments from the mainstream.
And speaking of going far, some of you will go as far as Scotland to the venerable 65-year old Edinburgh Festival Fringe. This year, we've already previewed a very small sampling of what you should see at Edinburgh Festival Fringe while East to Edinburgh was at 59E59 Theaters earlier.
Some of us are staying closer to Broadway at downtown's New York International Fringe, celebrating its sixteenth anniversary from August 10th to 26th.
First for the NYC homebodies: At FringeNYC, there is a plethora of events including 1200 performances ranging from monologues to musicals. Among them, a New York premiere of the intriguingly-titled "The Zebra Shirt of Lonely Children," starring Matthew Trumbull, running from the 11th to the 24th of August at The Players Theatre.The Players, of course is just one of the many venues at which FringeNYC is being shown.
Matthew Trumbull in "The Zebra Shirt of Lonely Children," photo (c) Kyle Ancowitz
"Mother Eve’s Secret Garden of Sensual Sisterhood," an award-winning fringe-fest musical, with an equally interesting title, is playing at The Players Theatre from the 15th through the 26th.
"Mother Eve's Secret Gardent of Sensual Sisterhood"
Jennifer Jajeh's "I Heart Hamas..." on the program at Edinburgh from August 14-25th, takes a fresh perspective in describing her experience as a Palestinian American. There's humor and a direct honesty in her interesting solo show. (Visit www.ihearthamas.com to see more.)
Appearing from the 14th to 27th of August at the Scotland Fest, "Death Boogie" is a provocative multi-media musical, starring Darian Dauchan and the musicians of The Mighty Third Rail. "Death Boogie" has a distinctive and original point of view. (See http://www.edfringe.com/whats-on/theatre/death-boogie for details.)
Sandro Monetti's monologue about Hollywood's big names, "Clooney, Cowell, Pitt and Me..." is tabloid newstand fun. He's performing only on August 18th. (Learn more at www.sandromonetti.com.) It will come as no surprise to hear that naricism comes with being celebrated in tinsel town, but it is nice to hear about it from Monetti's first-hand encounters.
"Eat Sh*t, How Our Waste Can Save The World" definitely falls into the far-out subject matter bucket.
The playlet, presented by Shawn Shafner's The Poop Project, is in fact a bit polemical, if very sincere. It will be at Edinburgh from August 15th to 27th. (Visit www.thePOOPproject.org to find out more.)
(L-R) Shamika Cotton, Tyler Jacob Rollinson, Marsha Stephanie Blake, Shannon Garland, Lee Osorio, Brandon Coffey, and David Coomber in a scene from Woody Harrelson & Frankie Hyman’s “Bullet for Adolf” at New World Stages. Photo credit: Carol Rosegg
Sometimes silliness is so sublime (think Marx Brothers) it feels like a gift from above.
(L-R) Tyler Jacob Rollinson and Lee Osorio in a scene from Woody Harrelson & Frankie Hyman’s “Bullet for Adolf” at New World Stages. Photo credit: Carol Rosegg
"Bullet for Adolf,"at New World Stages through September 9th, has the finely-honed madcap just right.
Frankie Hyman and Woody Harrelson have penned a rambling, nutty satiric comedy which Harrelson also directs at a pace that encourages the meandering spirit of the piece to find its own way.
Brandon Coffey and Marsha Stephanie Blake in a scene from Woody Harrelson & Frankie Hyman’s “Bullet for Adolf” at New World Stages. Photo credit: Carol Rosegg
Tastelessness is high art in "Bullet for Adolf." The plot is thin but meaty and involves the theft of a WWII artifact.
Prepare for rousing displays of misogyny and racism along with sweetly-wrought foul language. "Bullet for Adolf" hits many a social target.
In a fine ensemble of doers and slackers, Marsha Stephanie Blake as Shareeta does a stand-out job. The sets, designed by Dane Laffrey, go from sparse to plush while we are distracted by a vintage 1983 video montage in the production design from Imaginary Media.
"Bullet for Adolf" is unabashedly offensive, and extremely funny.
Cheerleading is not a philosophical endeavor. We get that. But it should have plenty of verve.
"Bring It On, The Musical," at the St. James Theatre for a limited run through October 7th, wants to make absolutely clear that it is a physically demanding activity.
The cast of "Bring It On" (C) Photo by Joan Marcus
In fact, Campbell (Taylor Louderman) narrates the facts of her life as she becomes the captain of the Truman pep-squad, introducing the predictable power points that describe this spirited pursuit and the dedication with which she pursues it. Complications follow when Campbell is transferred to Jackson High in a stroke of redistricting. At Jackson, Campbell meets Danielle (Adrienne Warren) the leader of a dance crew.Will she triumph and find her "One Perfect Moment?"
Taylor Louderman, Neil Haskell, Kate Rockwell, and Janet Krupin (c) Photo by Joan Marcus
The songs (by the usually brilliant Lin-Manuel Miranda ("In The Heights" was terrific) who teams up with Amanda Green on lyrics and Tom Kitt for the music) narrate a dull recitation of the lives of girls determined to win a state championship in rallying. Jeff Whitty has created a libretto based on the 2000 movie written by Jessica Bendinger to take "Bring It On" to the stage.
Adrienne Warren and cast. Photo (c) Joan Marcus
Once there, even with propulsive rally-squad moves and togh hip-hop inflected dancing (choreographed by Andy Blankenbuehler, who also directs), "Bring It On" dies a thousand deaths. Stereotypes abound: the black girls (and guys) are cool, the white girls vapid. Campbell's boyfriend Steve (Neil Haskell) is pretty effectively channelling his inner Woody Harrelson as Woody Boyd from "Cheers." Despite the paucity of interesting characters, Adrienne Warren as the head of the Jackson dancers, and Ryann Redmond as the fat girl, Bridget, are both quite charming.
Gasps of admiration at girls tossed into the air and landing gracefully quickly dissipate in the general dumbing down. Unfortunately dumbing down seems to have risen to a competitive sport in this musical. Aiming squarely for the lowest common denominator, "Bring It On" hits its target.
The loss of a loved one can be a powerful impetus for a story-teller.
In " My Mind is Like an Open Meadow," at 59E59 Theaters through August 19th, Erin Leddy memorializes her grandmother through a recorded interview with Sarah Braverman and in song and dance. The one-woman production has a unique style: Erin Leddy's grandmother, Sarah Braverman is her co-cast member, speaking through a boom-box.
"My Mind is Like an Open Meadow" is the briefest of excursions, lasting just about 60 minutes, and is sufficiently diverting. The symbolic significance of the carefully laid-out set is sometimes hard to comprehend.
Photo by Kate Sanderson Holly
While it is abundantly clear that Erin Leddy is mourning her grandmother in "My Mind is Like an Open Meadow," it is far from evident that she has created a cogent story line from her grief.
For more information on "My Mind is Like an Open Meadow," please visit www.59e59.org
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