Family Matters in "Harbor"

Hold on  tight. Family can elicit many feelings-- not all of them Norman Rockwell images.

Paul Anthony Stewart as Ted, Randy Harrison as Kevin and Alexis Molnar as Lottie celebrate Lottie's birthday in Chad Beguelin's "Harbor," under the direction of Mark Lamos at Primary Stages at 59E59 Theaters through September 8th. Photo by Carol Rosegg.

In Chad Beguelin's "Harbor," playing at 59E59 Theaters in a Primary Stages production through September 8, love and kinship are complicated matters. Family has a bittersweet taste, as complex as bergamon, or one of the sharper mints. It is something of which we should be wary. There truly may not be a sacred bond holding one generation to the next, or even between siblings. 

Donna Adams (Erin Cummings) lives in a van with her fifteen-year old daughter Lottie (Alexis Molnar). Donna's brother, Kevin Adams-Weller lives in a glorious house in Sag Harbor with his husband, Ted (Paul Anthony Stewart). Donna, a one-woman wrecking crew, descends on the two men for what turns into a prolonged, life-altering stay. Lottie, who is "Asian-smart" as her mother puts it, is appalled but also enthralled by the sudden stability of her surroundings. 

Erin Cummings as Donna, Randy Harrison as Kevin, Paul Anthony Stewart as Ted and Alexis Molnar as Lottie in a scene from Chad Beguelin's "Harbor" at Primary Stages at 59E59 Theaters. Photo by Carol Rosegg.

Many "a brick of truth," Donna's favorite expression, gets dropped in "Harbor," and somehow, it seems like the "brick" to which she refers may not be a building material. If we think that comedy is meant to be funny, "Harbor" enlightens us. "Harbor" is that and poignant and bright and brittle.

The cast of four all give commendably brilliant performances under the guidance of director Mark Lamos.

Erin Cummings is chilling as the conniving and hapless Donna. Alexis Molnar matches her stroke for stroke as the savvy and befuddled Lottie. Paul Anthony Stewart, who gets a wonderful rant in the opening scenes, recognizes all the subtle nuances that make ted tick, even the things the man doesn't seem to know about himself. Boyish and unmoored, Randy Harrison depicts a Kevin who is malleable and unformed to a tee.

Ted and Kevin's beautiful and immaculate Sag Harbor house is lovingly designed by Andrew Jackness, with views of its outside projected on the side walls.

"Harbor" is as complex and complicated as the most intricate family ties which it portrays with elegance and grace.

For more information about "Harbor," please visit www.primarystages.org.

Play Ball! Three strikes in "Ghetto Babylon"

There are some things so fundamental, they really don't involve choice For instance, you don't choose to breathe, do you?

Malik Ali, Alejandro Rodriguez, and Sean Carvajal in "Ghetto Babylon" at 59E59 Theaters.
Photo by Lisa Silberman

Worried about disappointing his "boys," -- the thuggish Spec (Sean Caravjal) and the tender Felix (Malik Ali)-- Charles Rosa (Alejandro Rodriguez) is in a fourteen-year-old's quandry. In "Ghetto Babylon," at 59E59 Theaters through August 18th, Charlie Baseball is the star pitcher on the West Farms Warriors. The team, after many seasons, seems finally destined to win the Bronx championship.  And Charlie, if he stays the course, is likely to get them there.

It's not everyone's dream to get out, even when the getting is out of poverty and ignorance. Spec, for instance, expects to have Rikers in his future. "I keep havin' this dream," he tells Charlie. "It be ten years from now. Felix be Felix, he all right, and we still tight. He like a captain at one of those fancy restaurants.... I be out from another bullshit bid upstate, Rikers, whatever...." 

Alejandro Rodriguez and Talia Marrero in “Ghetto Babylon” at 59E59 Theaters. Photo by Lisa Silberman

Charlie is a reader. His downstairs neighbor, Sarafina Santo (Talia Marrero) calls him Honor Rolls. For Charlie's cousin Felix, wearing the jacket the Warriors would win is a ticket to being recognized when they get to Theodore Roosevelt High School in the fall. Charlie has his own, very different ticket out, but it means ditching the final game for the Bronx-wide win. 

Alejandro Rodriguez acquits himself fairly well as the narrative figure in "Ghetto Babylon."
He is adequately supported by his castmates, especially the alluring Talia Marrero as Sarafina.

Michael Mejias has written a memory play with an extremely porous dilemma. His language alternately fascinating and downright uninspired. Mejias likes to sprinkle expressions such as "Anywho," in use by Sarafina and Spec. Or, "the wide wide world," which is used repeatedly as if it were an incantation. Mixing the mystical, the mythical and the magical by ijnvoking Charlie's dead mom, a hot love interest in Sarafina, and bringing in the Catcher from "Catcher in the Rye" just unfocuses "Ghetto Babylon." There is also some unfortunate ghetto stereo-typing in "Ghetto Babylon" that probably shouldn't get a pass. 

For more information about "Ghetto Babylon," please visit 59e59.org.

"Murder for Two" Is Just Deadly

Brett Ryback as the detective and Jeff Blumenkrantz as all 13 suspects in "Murder for Two" at 2nd Stage Theatre Uptown. Photo by Joan Marcus

Normally a double homicide is an agreeable if grisly TV staple and a pleasant way to  pass the time.

In "Murder for Two," at the McGinn/Cazale, Second Stage's uptown showcase, the crime is in the ridiculous premise.

Taste and sense have been cruelly killed. Comedy has been bludgeoned and all the fun of slapstick was butchered. "Murder for Two" is dull and annoying when it should be cute and winsome.

Jeff Blumenkrantz in one of his 13 guises and Brett Ryback as the investigator in "Murder for Two."
 Photo by Joan Marcus

In "Murder for Two," a new musical by Joe Kinosian (book and music) and Kellen Blair (book and lyrics), there is a murder at a birthday party.  Jeff Blumenkrantz plays all the suspects while Brett Ryback plays a cop named Marcus. While not quite enough to recommend this foolish little skit masquerading as musical comedy, Beowulf Boritt has gone all-out in designing the elaborate set, framing the action inside a panelled arch.

In the interest of offering a balanced view, we note that "Murder for Two" was a hit in Chicago in 2010.
Nonetheless, this reviewer found that although it is  a mere 90 minutes with no intermission, "Murder for Two" is overlong.

For more information about "Murder for Two," visit www.2ndst.com.

"Nobody Loves You" Is Very Lovable

Imagine life as one big dating competition in which losers and winners are chosen by popular vote.

Rory O'Malley as Dominic, Bryan Frankart as Jeff, Autumn Hurlbert as Samantha, Roe Hartrapf as Christian, Lauren Molina as Megan, and Heath Calvert as Byron in the 2nd Stage production of Moses and Alter's "Nobody Loves You."
Photo by Joan Marcus.

Itamar Moses' and Gaby Alter's "Nobody Loves You," at Second Stage Theatre through August 11th, is about just such a love-off.

"Nobody Loves You" is an endearing musical which satirizes that pop culture phenomenon in which we make our most private moments, public.

Aleque Reid as Jenny and Rory O'Malley as Evan in "Nobody Loves You" by Itamar Moses and Gaby Alter at 2nd Stage Theatre. Photo by Joan Marcus.

Moses, book and lyrics, and Alter, music and lyrics, have created characters you can care for in their good-clean making-fun-of comedy. Neatly directed by Michelle Tattenbaum with nice choreography by Mandy Moore, "Nobody Loves You," is well-staged, insightful and funny.

Adorable leads, Jeff (Bryan Fenkart) and Jenny (Aleque Reid) meet when Jeff joins the cast of the show within the show, "Nobody Loves You," to win back his ex, Tanya (Leslie Kritzer.) Jenny, the assistant to the producer, Nina (Leslie Kritzer again),  is as cynical about the show as Jeff is. MCing the over-the-top competition is the pretty and vapid Byron (Heath Calvert,) whose moves are as smooth as his silky voice.

Heath Calvert as Byron, Leslie Kritzer as Nina, and Bryan Fenkart as Jeff in "Nobody Loves You." Photo by Joan Marcus.

Kritzer's Nina is a barracuda who cajoles and threatens cast and staff with equal parts sweetness and guile.
Like Kritzer, who takes on her third role in a cameo as Zenobia the day she is kicked off the program, Rory O'Malley shows his versatility as Chaz/Dominic/and especially Evan. O'Malley, a Tony nominee for "The Book Of Mormon," is splendid as superfan Evan who tweets during the broadcasts.

And don't forget to vote for Autumn Hurlbert's spunky Samantha and  Lauren Molina's fierce all-in Megan! Theirs are just two more standout performances in a fabulous cast, which also includes the very appealing Roe Hartrampf as the charming Chrisitan.

Bryan Fenkart as Jeff and Heath Calvert as Byron in a scene from "Nobody Loves You." Photo by Joan Marcus.

What could have  been a cheap shot at the easy target of reality television and its many excesses proves to be a very intelligent musical work. Like Cupid's arrow, "Nobody Loves You" hits the mark but doesn't sting.

For more information and a schedule for "Nobody Loves You," please visit www.2st.com.

"The ring of truth:" It's there in "Bill W and Dr. Bob"

Anyone who has struggled with addictions, either personally or intimately with another, knows that sobriety of any kind is hard won.

"Bill W. and Dr. Bob," at The Soho Playhouse through January 5, 2014, tells the story of the founders of Alcoholics Anonymous and their wives in an entertaining drama."Bill W. and Dr. Bob," while being very sober in the sense of sincere, is far from solemn. It is more than polemic, although if the play inspires you to start or join a meeting of your own, "Bill W. and Dr. Bob" offers a resource guide.

Timothy Crowe as Dr. Bob and Patrick Boll as Bill W. in "Bill W. and Dr. Bob" by Janet Surry and Sam Shem, at The Soho Playhouse through January 5, 2014. Photo  by Joseph E. Reid.

Anonymity seems to have been far from Bill W.'s (Patrick Boll) style and personality. He was a go-go stock picker who revolutionized his industry by going into the field to check out the way companies were run. He took his attractive young wife, Lois (Denise Cormier) on his travels by motorbike, and just when they were broke and running out of gas, he hit it big. We soon learn, however, that Lois is troubled by his blackout drinking even before 1929 comes along and Bill Wilson's good fortune in the market turns with the Crash.

Bill W. (Patrick Boll) convinces Dr. Bob (Timothy Crowe) that the cure for alcoholism is in having drunks share their stories with others in the same plight from "Bill W. and Dr. Bob" at The Soho Playhouse. Photo by Joseph E. Reid.

Dr. Bob (Timothy Crowe) uses alcohol to relieve his shyness. Despite his natural humility and sense of responsibility, hangovers are part of his daily routine in the operating room. He cannot help but hit the hidden bottle as soon as his wife, Anne (Deborah Hedwell) leaves for a bible meeting.  Neither Bill W. nor Dr. Bob are religious men, and their attempts at a cure through temperance groups like The Oxford Scoiety fail until....

The newly-sober Bill is sent to Akron to look into a tire manufacturing concern, and possibly become its President. There he is distressed by desires to drink. In his search for someone to help stop him, he looks to meet other drunks.  He is introduced to Bob Smith, and the rest of the AA history unfolds in the drama that is "Bill W. and Dr. Bob."

Co-playwrights, Sam Shem and Janet Surrey, married physician and psychologist,  tell the story of Alcoholics Anonymous in a deeply theatrical way, aided by the excellent direction of Seth Gordon. The ensemble, which also includes Daniel Pearce and Liz Wisan in a variety of roles as bartenders, drinkers, reformers, is superb. In this outstanding company, Timothy Crowe is especially fine as Bill W.'s partner and friend.

For more information about the show and special events related to "Bill W. and Dr. Bob," visit  http://billwanddrbob.com

Sexy Sells: "Forever Tango"

Gilberto Santa Rosa and the cast and musicians of Luis Bravo's "Forever Tango," in a photo by Walter McBride.

Tango is about desire and possession.

Luis Bravo's "Forever Tango," returning from a world tour to The Walter Kerr Theatre through September 15th, is a showcase for the ritualized sexiness of this aggressively elegant dance.

Karina Smirnoff and Max Chmerkovskiy with the cast of "Forever Tango." Photo by Walter McBride.

Guilty pleasure and fan favorite Maxsim Chmerkovskiy adds his "Dancing with the Stars" charisma as a Guest in "Forever Tango," partnering with the lovely and talented Karina Smirnoff, herself a mirror ball trophy winner on the ABC show. The varied choreography -- no small feat in such a familiar dance form-- is attributed to The Dancers, each pair of whom is responsible for the acts they perform. The exception is "Comme I'll Faut," choreographed by Juan Paulo Horvath and Victoria Galoto for Max and Karina. 

Juan Paulo Horvath and Victoria Galoto in Luis Bravo's "Forever Tango," at the Walter Kerr through September 15th. Photo by Walter McBride.

In a tribute to the signature instrument that gives the tango its distinctive sound, Juan emerges from a giant bandoneon in "Preludio del Bandoneon y la Noche" to be joined by Victoria coming from the wings. Juan has his own somewhat gangsterish charm and is very dapper in spats and fedora. 

The many and also varied costumes for "Forever Tango" are the design of Argemira Affonso, each costume change setting up the scene and the characters. Of course, the tuxedo or some variant is the staple for the men in many of the tangos. It's the ladies who get to show off leg in black split skirts with red trim, or in slinky white sequined gowns. It's also the ladies, who Ginger Rogers-like, do what the men do, just backwards and in stilettos. 

Erotic and dangerous, rugged and delicate, the tango requires precision and artistry, all of which the cast provide in abundance. Gilberto Santa Rosa, "El Caballeor de la Salsa," with five Grammies to his name, sings bewitchingly of longing and love, sometimes in accompaniment of the dancers, sometimes on his own. 3-time Latin Grammy and Granmy Award winner, Luis Enrique takes over for him on July 30th.

Ariel Manzanares and Natalia Turelli are the comic relief in "Forever Tango," and they take their role very seriously. For example, in the wry "La Tablada," the couple fight over an elicit camera which they in turn flash at the orchestra and each other. Manzanares gives witty impersonations of a clown in his appearances, while Turelli plays the straight woman to perfection.

The large company of dancers, as well as the on-stage orchestra, has clearly been chosen from the best of the best.

“Forever Tango” is not a prescriptive or a rallying cry, but a promise. There is infinite variety in the ardor of its movements which promises lifetimes of pleasure.

For more information about Luis Bravo's "Forever Tango," please visit http://forevertangobroadway.com/.

2 Characters in Search of

Brad Dourif as Felice and Amanda Plummer as Clare in Tennessee Williams "The Two Character Play" at New World  Stages. Photo by Carol Rosegg.

Is it possible that Tennessee Williams was not the best judge of his own work?

Photo by Carol Rosegg. Amanda Plummer as Clare and Brad Dourif as  Felice in  Tennessee Williams' "The Two Character Play" playing at New World Stages.

"The Two Character Play," in an open run at New World Stages, for instance, was his favorite, and Williams drew it in comparison to "The Glass Menagerie." In fact, it is a muddle not unlike "The Milk Train Doesn't Stop Here Anymore," a play which appeals mostly for its phantasmagorical title.

"The Two Character Play" is confusing and befuddling. It's a combination of a "let's put on a show" story and "The Madwoman of Chaillot." The madwoman here is Clare (Amanda Plummer), Felice's  (Brad Dourif) sister-actor, who unravels rather easily. And makes perfect sense while doing it. Felice, the playwright and stage manager, fusses to make everything perfect for her, for them.

Brad Dourif and Amanda Plummer are clearly having a good time doing "The Two Character Play." Photo  by Carol Rosegg.

"The Two Character Play" is about two unmoored actors, putting on a play without their company to back and support them. Despite this odd premise, it is a bit funny and not as bleak as it might be. Alas, my personal reaction sounds like this: "Is this brilliant? and I don't get it. Is this dreadful? and I still don't get it." 

There are mysteries aplenty in "The Two Character Play," other than this reviewer's state of mind, of course. There's symbolism aplenty too. Revelling in his words is one of the pleasures in witnessing a Tennessee Williams drama. That experience is as true of the lyrical opening of the above-mentioned "The Glass Menagerie" as it is in the lovely narrative of "La Vieux Carre" The beauty and terror of his language even shines through the film version of "Suddenly Last Summer."

In "The Two Character Play"Tennessee the poet-- and he was definitely that-- is at work. Just not his best work, no matter what he had to say about it.

For more information about "The Two Character Play," please visit http://thetwocharacterplay.com/

"The Explorers Club" Still Looking for That East Pole

You know that fine line between completely mporonic and extremely clever? No? That's probably because there really isn't any such magical place.

"The Explorers Club," at MTC's Stage 1 at City Center, through July 21st, has a moment or two of cute absurdity. Unlike Nell Benjamin's "Legally Blonde" in which the vapid and beautiful sorority girl finds her inner Harvard, the idiotic scientists in "The Explorers Club" mostly find no interior genius.

There is fine slapstick in a bar scene as Luigi (Carson Elrod) "delivers" drinks. The other highpoint is an "HMS Pinafore" bit with Harry Percy (David Furr) in full regalia.  Everything else just seems to stoop.Phyllida Spotte-Hume (Jennifer Westfeldt) is proposed for membership in the eponymous club by her admirer, Lucius Fretway (Lorenzo Pisoni) for her accomplishments as a scientist. She has discovered a lost city and brought back one of its "savages," the aforementioned Luigi.

Westfeldt gets to play her twin, Countess Glamorgan, and wear lots of very cool costumes, by Anita Yavich, who has dressed the men beautifully as well. The set is also quite charmingly designed by Donyale Werle. Professors Cope (Brian Avers) and Walling (Stephen Boyer) are the suppressed gay-boy scientists, one who studies snakes and the other mice, "yet we are still friends." More low-lying fruit is picked by John McMartin as Professor Sloane, the Biblical literalist scientist. Beebe (Arnie Burton) creates a diversion when he shows up as a warrior monk convert.

Alas,"The  Exploers Club" is no smarter than its lowest common denominator, which might just be Harry Percy who is determined to find the "east pole."


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

"Rantoul and Die:" For better or worse

The prolific theater troupe, the Amoralists are dedicated to producing works that pass no moral judgement.
Now, that's just plain wrong! Honestly, can anyone of us go for even a half a day without making some kind of evaluation of good, bad, better, worst.

The cast of "Rantoul and Die: Derek Ahonen as Rallis, Sarah Lemp as Debbie, Matthew Pilieci as Gary and
Vanessa Vache as Callie. Photo by Russ Rowland

In their latest foray into absurdist realism, "Rantoul and Die" at the Cherry Lane Studio Theatre through July 20th, the Amoralists take an unjaundiced look at four working stiffs settled into their middle American lives, working at the Dairy Queen and paying off the mortgage. What lies behind and deep underneath their ordinary everyday?

Sarah Lemp as Debbie cleans up some of the mess Rallis (Derek Ahonen) has made in their home.
Photo by Russ Rowland.

Mark Roberts' "Rantoul and Die" is about a marriage that's raced so far off he path that it's left skid marks on everybody. Rallis (Derek Ahonen) whines mightily to his friend Gary (Matthew Pilieci) about his wife, Debbie (Sarah Lemp) tossing him out. Heartbreak was never intended to be this funny.

Gary (Matthew Pilieci) and Rallis (Derek Ahonen) in "Rantoul and Die."
Photo by Russ Rowland

"Your heart is broke?," Gary says to Rallis. "Boo-fucking-hoo. Everybody's heart is broke. Why don't we all put up a billboard.... Wouldn't be able to find a fuckin' Wendy's." Rallis responds that he's just "tenderhearted. Things land on me harder than most." In short, Rallis does not want to move on as advised by Gary and ordered by Debbie. He'd rather take his grief counsellor's advice to "process" his loss.

Sarah Lemp as Debbie and Matthew Pilieci as Gary.
Photo by Russ Rowland.

The entertaining play, written by the creator of television's Mike and Molly, and directed by Jay Stull, mixes improbable violence with exhilirating hi-jinx. The ensemble, rounded out by the appearance of Callie (Vanessa Vache) in the second act, are all superlative.

For more information about "Rantoul and Die," visit http://amoralists.com/2013-season/

Home is where the heart is

Home is also where habits are respected and remembered, and memories treasured.

Jonathan Hogan as Sir Charles Denham and George Morfogen as his brother Harry in N.C.  Hunter's "A Picture of Autumn," in a Mint Theater Company revival. Photo by Richard Termine.

In N.C. Hunter's "A Picture of Autumn," revived to perfection by the Mint Theater Company and on stage through July 27th, the ancestral home is a bit of a decaying pile. In 1951, "A Picture of Autumn" was produced in England as the first in a series of gentle drawing room comedies.

Jill Tanner as Lady Margaret, George Morfogen as Harry Denham, Jonathan Hogan as Sir Charles, Paul Niebanck as Robert and Katie Firth as his wife, Elizabeth. Photo by Richard Termine.

Despite the inevitable comparison to Chekhov, Hunter brought a crisp and distinct voice. His failure to gain traction as a great English playwright may be attributed to the voices of discontent made popular by John Osborne's "angry young men" and Joe Orton's strange and flamboyant characters. The drawing room was replaced by the union hall, the dockside, or other more ordinary venues. The realism of the 1970s wanted a grittier reality than that of aging nobility and its bewildered children.

Paul Niebanck as Robert Denham and Barbara eda-Young as Nurse in "A Picture of Autumn."
Photo by Richard Termine.

As in Chekhov's works, "A Picture of Autumn" focuses on the decline of an aristocratic family, the Denhams. Sir Charles (Jonathan Hogan) and Lady Margaret (Jill Tanner) make up the household along with Charles' brother Harry (George Morfogen) and the equally aged Nurse (Barbara eda-Young) who is more served than servant. Sir Charles and Lady Margaret have two boys, the ne'er do well Frank (Christian Coulson) and his decent but plodding civil servant brother Robert (Paul Niebanck). Robert is appalled by the letters of complaint he's gotten from his mother during his service in Africa. Moved by his parents' inability to keep up the old house, has decided to help by selling Winton Manor to a governnemt agency.

George Morfogen as Harry and Helen Cespedes as Felicity in a scene from "A Picture of Autumn."
Photo by Richard Termine.

Hunter was never much produced state-side, with his only Broadway foray being A Day by the Sea featuring Jessica Tandy and Hume Cronyn in 1955. He fared better in England where the plight of impoverished lords and ladies dotting the post WWII country-side was better understood.

Be grateful to the Mint for bringing Hunter's work the attention it deserves. "A Picture of Autumn" gets truly proper treatment under Gus Kaikkonen's fine direction and with this wonderful ensemble. The performers were all top-notch, with George Morfogen adding sparkle to the production. The young Helen Cespedes as Felicity, the daughter of Robert Denham's wife's Elizabeth is a welcome new talent and makes a superv ingenue. Jill Tanner is wonderful as the doyenne reduced to cooking and shopping; her Margaret is a perfect unwilling  but loving caretaker.

For more information about "A Picture of Autumn," please visit http://minttheater.org/.

Meeting or exceeding expectation

Expectations met make for a delightful experience. Who doesn't like to be right? The satisfaction of seeing a top-quality performance is much greater than that of knowing what's going to misfire.

Bette Midler stars as Sue Mengers in "I'll Eat You Last: A Chat With Sue Mengers," at the Booth through June 30th. Photo by Richard Termine.

In "I'll Eat You Last: A Chat With Sue Mengers," John Logan's new play at the Booth Theatre through June 30th, the Divine Miss M (and I'll bet even she's tired of this moniker attached to everything she does) meets all the highest expectations! Bette Midler makes a divine Sue Mengers, the king-making and contentious Hollywood agent who died in 2011.

Sitting in Sue Mengers' sumptuous living room, designed by Scott Pask, Midler embodies all the qualities for which Mengers was famous. It's such a natural performance, Midler just inhabits Sue Mengers. Under Joe Mantello's direction, Bette Midler's Sue Mengers is funny, charming, difficult, combative, abrasive irreverent and very entertaining.

The man in the Booth box office warned that there would be no singing in this show, but Bette Midler's acting sings nonetheless.

"I'll Eat You Last..." is an intimate and gossipy pleasure.

Julianna Rigoglioso as Janice, Jake Lucas as David and Elainey Bass as Sarah in "Far From Heaven," Richard Greenberg's new play at Playwrights Horizons through July 7th. 

Unfortunately, the low expectations we had going in for "Far From Heaven," at Playwrights Horizons through July 7th, were also exceeded. Richard Greenberg's book is based on the Todd Haynes motion picture of the same name, with music by Scott Frankel and lyrics by Michael Korie, none of which adds much to the rather thin tale.

As "Far From Heaven" opens, Cathy Whitaker (Kelli O'Hara) is a typical and very conventional New England housewife circa 1957, enjoying the beauties of her home and family. Spoiler alert for those not familiar with the film, Cathy's story can be summed up as: my husband, Frank (Steve Pasquale) is gay and I'm in love with the gardener, Raymond (Isaiah Johnson).

Kelli O'Hara as Cathy and Isaiah Johnson as Raymond in "Far From Heaven." Photo by Joan Marcus

"Far From Heaven" is an operetta, and the orchestra's over-playing the singers interferes with the players' storytelling. The fine cast are excellent; Kelli O'Hara gives a grand performance; Isaiah Johnson as her love interest is superb. Steve Pasquale is a perfectly despicable Frank Whitaker, torn between what he thinks is normal and what he wants. (See an extended review by TB at VevlynsPen.)

For more information about "I'll Eat You Last: A Chat With Sue Mengers," visit http://www.illeatyoulast.com/. To learn more about "Far From Heaven," visit http://www.playwrightshorizons.org/

Summer is for dancing: a couple of out of town Festivals

What’s 80 years old and extremely modern? Well, yes maybe also your ultra-hip granny but we’re thinking more along the lines of ADF.

The American Dance Festival, founded in 1934 in Bennington, VT, and now located in Durham, NC, is a summer home for an international community of dancers, choreographers, critics, musicians, students, and scholars joined in a supportive environment for creation and presentation of new works.

 

LeeSaar-MassMoCA. Christopher Duggan

Featured artists for the week of June 30^th through July 7^th include LeeSaar The Company which is bringing an ADF-commissioned work for their premiere performance called “Grass and Jackals.” The dance and light piece by the company, founded by partners Lee Sher and Saar Harari in 2000, explores movement and theatricality in a dynamic contemporary form.

Also on the stages at ADF is Kyle Abraham with Abraham.In.Motion, bringing his new work, “Pavement,” an exploration of the hard road black America has had to take during the past century.

The extremely popular Musician’s Concert is back on July 3^rd this year at 8:00pm as are dance and bodywork classes at ADF’s Samuel H. Scripps Studios for adults while ADF Project Dance, under the direction of Gaspard Louis, partners with Kidzu Children’s Museum to offer two free movement classes for children during the third week of the Festival.

In contrast to the long-established ADF, the Cape Dance Festival will be holding its inaugural event on July 27^th in Provincetown, MA. The brainchild of performing arts professionals Stacey-Jo Marine and Liz Wolff, the Festival includes Paul Taylor Dance Company, Project Moves Dance Company, CorbinDances, Lady Luck Burlesque, Lorraine Chapman the Company, and Yesid Lopez. As a throwback to an ancient tradition, the Cape Dance Festival is being held outdoors in an amphitheater, the Province Lands Outdoor Amphitheater, to be precise.

Among the many works on hand, will be "Paean," a solo choreographed by the late Christopher Gillis, a member of Paul Taylor's troupe. “Paean” will be danced by Michael Trusnovec, a senior dancer in the Paul Taylor Dance Company. Christopher Gillis died from AIDS complications in 1993. Ticket sales for all Festival performances will go towards raising funds for the AIDS Support Group of Cape Cod.

Visit http://capedancefestival.com/about/ to learn more about Cape Dance Festival.

To learn more about the American Dance Festival, visit http://www.americandancefestival.org/

What are you doing this weekend? A few select suggestions:

 See Bette Midler play Sue Mengers, or go see "Motown The Musical" or you could head home to Bountiful, TX.... 

Bette Midler is the perfect hostess in "I'll Eat You Last," as she invites the audience into her home, well, Sue Mengers' home.  Click above for review and details, but there are only a few performances left, and honestly, you should not miss this one. Closing June 30th.

Love the music that came out of Detroit in the late '50s and early '60s? Come relive the era with "Motown The Musical." Tickets aren't discounted on the usual sites, but go ahead and treat yourself after you click on the links for our reviews, at any rate. (See also, Gordy Tells His Story on VP as well as the review on this site.)

There are discounts for "The Trip To Bountiful," for which Cicely Tyson won the Tony. (For discounts check on BroadwayBox.com, among others.) Cuba Gooding, Jr. makes his stage debut in this lovely production.

Off-Broadway, there's "Cornelius" by JB Priestley at 59E59 Theaters' Brits Off Broadway. The play takes place during tough economic times during the 1930s, but you can relate, right? [Also closing on June 30th.]

Alan Cox and Col Farrell in J.B. Priestley's “Cornelius,” directed by Sam Yates, part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.

It plays only on Wednesdays, but plan to attend a matinee or evening performance before July 31st:

"Unbroken Circle" (review) at the St Luke's Theatre.

Photo by Bill Selby

Looking for romance and dancing? "Rodgers + Hammerstein's Cinderella" can take you on a waltz-filled adventure. It won a Tony for the spectacular costumers, but it's a genuinely enjoyable production.

Looking for something a bit ... smaller? St Ann's Warehouse in Dumbo is celebrating toy theater from June 14th to the 23rd. It's the Tenth International ToyTheater Festival. Check it out. Photo below is courtesy

Great Small Works, and features Barbara Steinitz and Bjorn Kollin presenting "Schnurzpiepegal," a picture book that comes alive. 

Another highlight of the festival is Janie Geiser's "The Reptile Under the Flowers," which incorporates mechanical objects, puppetry, small projections in twelve diorama scenes of a peepshow spectacle. Don't know about you but "Toy Theater" appeals to my love of minatures.

Janie Geiser’s "The Reptile Under the Flowers," courtesy Great Small Works

• To find out more about "I'll Eat You Last," please go to the official site. 
• For information about "Motown The Musical," visit their website. 
• For  "The Trip To Bountiful," take a trip to discount link, and visit the official website. 
• Go to 59e59.org to learn more about "Cornelius." 
• Discount tickets are available for "Rodgers + Hammerstein's Cinderella" and information about the show can be found at their official website.
• For schedule and tickets for "Unbroken Circle," go to their site.
• Please go to Tenth International Toy Theater Festival for the schedule of events

Alas, "Somewhere Fun" is Anything But

Dark comedy can be full of surprise and delight.

Unfortunately, Jenny Schwartz's new "Somewhere Fun," at the Vineyard Theatre through June 23rd, is dark and sometimes comic, but absent of any delight. A metaphor for life and death that's so lurid and off-putting, "Somewhere Fun" threatens to bore. Its descent into dull darkness has a rapid trajectory over three thirty-five minute acts.

"Somewhere Fun" is full of clichés masquerading as whimsy and whimsy that  passes for deep thought. There is wordplay that amuses until it doesn't despite the best efforts of the fine troupe of actors and director Anne Kauffman. In fact, "Somewhere Fun" features an excellent cast--including the brilliant and talented Kathleen Chalfant and splendid and versatile Kate Mulgrew. They and the ensemble work tirelessly to make lively sense of "Somewhere Fun" to no avail.

A pinch of fairytale, a sprinkling of Shakespeare, a soupçon  of police procedural, a dash of social commentary, and yet "Somewhere Fun" is just an unsatisfying stew.

For more information about "Somewhere Fun," visit the Vineyard Theatre.

Secrets Haunt in "Unbroken Cirlcle"

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

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

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

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

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

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

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

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

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

Going For Broke in "Cornelius"

L-R: Alan Cox, David Ellis, and Col Farrell in J.B. Priestley's "Cornelius,"   directed by Sam Yates, part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.

Losing everything you worked for would drive most men to despair.

In J.B. Priest;ey's period drama, "Cornelius," at 59 E59 Theaters through June 30th, the eponymous hero seems inspired to whimsy as his firm fails.

Alan Cox in J.B. Priestley's "Cornelius," directed by Sam Yates, part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.

James Cornelius (Alan Cox) remains sublimely cheerful while Briggs & Murrison goes steadily into bankruptcy. His spirits are, in part, buoyed by the new typist, Judy Evison (Emily Barber), but he is just a naturally optimistic fellow. Jim is certain that his partner, Bob Murrison (Jamie Newall) will arrive with orders for aluminum from the trip he is making to see their old customers to save their company.

Emily Barber and Alan Cox in J.B. Priestley's "Cornelius," directed by Sam Yates, part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.

In his office, Jim is supported by the loyal Biddle (Col Farrell) and the smitten Miss Porrin (Pandora Colin.)
The office boy, Lawrence (David Ellis) has adopted a more modern attitude about work. "This is Mr. Murrison's show," he tells Biddle. "It's his firm." Biddle rebukes him "And it's my firm. And it's your firm."
Lawrence responds "No, it isn't. This is simply the place where I come and put out blotting-paper and copy letters for twenty-five bob a week."

 Alan Cox and Col Farrell in J.B. Priestley's "Cornelius," directed by Sam Yates, part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.

In "Cornelius," there is a sense that society is going broke as surely as Briggs & Murrison are. There is impending war making trade difficult. Times are generally hard in London in 1935, and a coterie of door-to-door salesfolk come around with paper goods and shaving cream.

Alan Cox is bracing as the kind and sometimes bewildered James Cornelius. He, like his character, is supported by an excellent cast. Col Farrell is outstanding, and Pandora Colin simply wonderful as the protective and love-struck Miss Porrin. Emily Barber also gives an exceptional performance. The fine actors are aided in their performance by the well-paced direction of Sam Yates.

To learn more about "Cornelius," please visit www.59e59.org.  Also visit www.finboroughthre.co.uk to learn more about the production company that brought "Cornelius" to Brits Off Bway.

Tony, Tony, Tony!

The Tony Awards are more than just a celebration of the great work done by the theater community in the past season, they are also a showcase for New York City's best product: Broadway!

Broadway is an export product, with shows touring all over the country, but more importantly, it imports visitors to our town and brings them to the Great White Way to share some of the magic. The 2013 Tony Awards highlighted what's in store for out-of-towners and locals alike.

Making book on who will win is not a blood sport, but I am gratified at how many picks I got right this year!
Imagine how much more satisfying those wins were to Patina Miller, Cicely Tyson, Tracy Letts, Billy Porter-- yes I predicted these wins. Congratulations to you all and to "Kinky Boots," and "Who's Afraid of Virginia Woolf" and Pam McKinnon, and all the rest. In fact, a big congratulations to all the nominees and the Bests.

Open the Shipping Lanes, "The Boat Factory" is in Town

Dan Gordon, who also wrote the play, and Michael Condron in "The Boat Factory," part of Brits Off Broadway
at 59E59 Theaters.  Photo by Carol Rosegg

Folks once travelled by ship across the seas like we hope a plane. Ocean liners sailed from the shipyards of Belfast as early as the late 1800s. Smaller boats were built in 1663 to ply the rivers before the harbor was dug out to accommodate factories like Harland & Wolff, which launched, among many other ships, the RMS Titanic in 1911.

Michael Condron and Dan Gordon in "The Boat Factory," part of Brits Off Broadway at 59E59 Theaters.
 Photo by Carol Rosegg

A history of the Belfast shipbuilding industry in two acts by Dan Gordon, "The Boat Factory," at 59E59 Theaters through June 30, celebrates great shipyards of the Northern Ireland town and the men who worked in them.

Michael Condron as Geordie and Dan Gordon as Davy in "The Boat Factory," part of Brits Off Broadway
at 59E59 Theaters.  Photo by Carol Rosegg

In Act 1, the actors deliver a lecture on the heritage of shipbuilding in Belfast. The stories they tell are novel, comic, interesting and rambling. Davy Gordon [Dan Gordon] and Geordie [Michael Condron] By Act 2, Davy Gordon [Dan Gordon] and Geordie [Michael Condron] act out a more conventional give and take about life in the great warehouses in which "dreams n the Island-- Queen's Island-- building ships building dreams...." With its sprawling presentation, and didactic content, "The Boat Factory" may not be to everyone's liking. By the time you get to the second act, you may be overwhelmed by the syncopation of information in Davy and Geordie's banter.

Men died building ships in the vast factories that sprang up between the Victoria and Musgra e Channels on
Queen's Island, Belfast. "The Boat Factory" is a tribute to them and the expansive industry they represented.

"We built them to last -- even Titanic," Geordie says. "She was alright when she left us, eh?," Davy says.

For more information about "The Boat Factory," visit www.59e59.org.