Missed connections in the sad "Life... of Eric Argyle"

Davey Kelleher and Manus Halligan in “The Life and Sort of Death of Eric Argyle,” a 15th Oak production. Part of 1st Irish at 59E59 Theaters. Photo by Lucy Nuzum

That old saying about "living lives of quiet desperation" comes to mind from time to time.

In Ross Dungan's “The Life and Sort of Death of Eric Argyle,” a 15th Oak production. Part of 1st Irish at 59E59 Theaters, through September 29th, it is a constant theme.

Katie Lyons, Karen Sheridan and Erica Murray in “The Life and Sort of Death of Eric Argyle,” a 15th Oak production. Part of 1st Irish at 59E59 Theaters. Photo by Lucy Nuzum

The construct in "...Eric Argyle" is sort of a death council, gathered to judge him on the basis of the contents of a book he has written. That book is as disorganized -- he began it on page 231 and moved on to page 656--  as the plot of the play that houses it. The lilt of the Irish has great appeal so they can say "shite-all" and still charm. Nonetheless, the story here is more than a bit murky.

Dave McEntegart and Karen Sheridan in “The Life and Sort of Death of Eric Argyle,” a 15th Oak production. Part of 1st Irish at 59E59 Theaters. Photo by Lucy Nuzum

Narration to further exposition is static, and the use of the countdown of time fails to create the intended urgency.

The cast of eight are fine, muddling gamely in and out of a variety of characters. The two Erics (Dave McEntegart as the older and James Murphy as the younger) are preeminently sad sack.

There is also background music to "The Life and Sort of Death of Eric Argyle" strumming on random occasions. The fantastically messy set, designed by Colm McNally, is dispatched for multi-purpose by the hard-working ensemble. 

For more information about "The Life and Sort of Death of Eric Argyle," visit www.59e59.org. 

Hear Him Roar: "Brendan at the Chelsea"

It seems that torment often comes with great talent.

Photo courtesy of The Lyric Theatre (Belfast). Adrian Dunbar as Brendan Behan and Samantha Pearl as Lianne in a scene from Janet Behan;s "Brendan at the Chelsea" at Theatre Row's Acorn Theatre through October 6.

Brendan Behan, iconoclast, playwright, writer, documentarian of life in New York, Irishman, genius, and hard drinker, is a case in point. Behan came to New York for the opening of his play, "The Hostage" in September 1960 and soon moved from the Algonquin to the Chelsea Hotel. There he narrated his book on New York, which was published after his death at the age of 41, and caroused mightily with New Yorkers of all stripes.

It is at the bohemian hotel that we meet up with Behan (Adrian Dunbar) in  his niece, Janet Behan's tribute "Brendan at the Chelsea," on tour at the Acorn in the Lyric's production through October 6th. Brendan Behan was a literary lion, and welcomed in the city's literary, theatrical and boho circles that he embraced so wholeheartedly.

Drink was his nemesis and he also embraced that with all his heart.  Dunbar, who also directs "Brendan at the Chelsea" is a marvelous Behan.  He gives a full-throttle performance as a force of nature. Matching him, but with the appropriately quieter intensity, is Pauline Hutton who is a very fine Beatrice to his roaring Behan. The ensemble, rounded out by Richard Orr as his song-writing neighbor George (and others), Samantha Pearl as Lianne, a Katherine Dunham dancer who is charged with caring for the wayward Behan, and Chris Robinson as Don, whom Behan meets on an excursion with his wife, Beatrice, to Fire Island's Pines, (and in other roles), do excellent work in the narration of the plot.

The play takes on the large project of conveying genius and torment with intelligence, although "Brendan at the Chelsea," is an uneven work. There are moments when it strays too far in exposition, having taken on perhaps a bit more than is easily managed. Something one could also say of its central character.

The production holds more than just interest for those who know Behan's work. "Brendan at the Chelsea" is a welcome entertainment.

For more information about "Brendan at the Chelsea," visit www.BrendanChelsea.com.

"The Awake" Is Noirish But Not Bleak

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

Teaser courtesy of Kef Theatrical Productions

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

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

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

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

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

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

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

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

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

Classes, a reading and other listings for September

Adult Acting Classes at Bare Bones Theater in Northport, NY:  Register by September 9th.

 Bare Bones Theater Company has trained adults in acting since 2000.  

There are openings in the four classes offered this fall: two classes in Fundamentals of Acting; one class in Intermediate; and one class in Improv.  Each class meets one evening per week for ten sessions, starting the week of September 23, 2013.  

  

Registration for all four classes will be held the week of September 9.  Registration is by appointment only.  Registration and all classes will be held at Bare Bones Theater, 57 Main Street, Northport, NY.

For details about the schedule and the online registration form, click on the links below. Call 631-606-0026 or e-mail info@barebonestheater.com with any questions.

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 Matthew Freeman's WHY WE LEFT BROOKLYN receives world premiere at Fourth Street Theater

 Theater Accident, in association with Blue Coyote Theater Group, are thrilled to present the world premiere of WHY WE LEFT BROOKLYN, written by Matthew Freeman and directed by Kyle Ancowitz. WHY WE LEFT BROOKLYN begins performances on August 29th for a limited engagement through September 21st. Performances are at the Fourth Street Theater (83 East 4th Street, between Bowery & Second Avenue). Tickets are $25. To purchase tickets, call SmartTix on 212-868-4444 or visit www.smarttix.com. For more information, visit www.theateraccident.com.

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"notes to MariAnne'', a free staged reading of a new musical written by David Rossmer and Dan Lipton, directed by Leigh Silverman, presented by Amas Musical Theatre as part of the Amas Musical Theatre Lab Series, on Thursday, September 12th at 1pm and 4:30pm at The Steve and Marie Sgouros Theatre, 115 MacDougal StreetTh.

TICKETS: FREE

FOR RESERVATIONS EMAIL boxoffice@amasmusical.org, or CALL 212-563-2565

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NYU Steinhardt Presents “Sweet Smell of Success,” Sept. 12-14

“Sweet Smell of Success”, presented by NYU Steinhardt’s Program in Vocal Performance, will run from September 12th to 14th, and features music by Tony, Oscar, Emmy, Grammy, and Pulitzer Prize winner Marvin Hamlisch, lyrics by three-time Tony Award nominee Craig Carnelia, and book by Tony Award winner John Guare. Steinhardt’s own John Simpkins directs.

Performances are at NYU Skirball Center for the Performing Arts, located at 566 LaGuardia Place.  Tickets are $30 general admission, with student and senior discounts available.  The September 12th performance will begin with the posthumous induction of Marvin Hamlisch into NYU’s Musical Theater Hall of Fame.  For tickets, contact NYU Ticket Central at nyuskirball.org/calendar/sweetsmell, 212.352.3101, or in person at 566 LaGuardia Place (at Washington Square South).

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French Institute Alliance Française (FIAF) presents Crossing the Line 2013 13

Seventh Edition of New York’s Highly Acclaimed Interdisciplinary Festival Presents 13 Premieres & 3 Commissions in Locations Throughout New York City 

FIAF's highly acclaimed interdisciplinary fall festival, Crossing the Line, will return September 19th through October 13th with 13 premieres and three comissions in locations throughout New York City. Over 25 days, the festival will include 17 international artists, several presenting their work and ideas in New York for the first time. For more information, go to  www.fiaf.org

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Chiori Miyagawa's I CAME TO LOOK FOR YOU ON TUESDAY
directed by Alice Reagan will premiere at LaMama

The Tuesday Project, which explores reunion during times of natural disaster and the aftermath of war, includes street art installations and community participation events across NYC, in addition to Miyagawa’s play

At the time of the Japan earthquake in March 2011, the New York City-based playwright Chiori Miyagawa, whose family was affected by the disaster, saw a photo of an evacuation center wall, covered with handmade messages seeking contact with missing family members and friends. This image moved her, and she began thinking about the concept of reunion, especially following a natural disaster or war. That summer, setting out to create play on the topic, Miyagawa and the director Alice Reagan began holding salons in which artists and others shared their own reunion stories. The results were extraordinary: participants dug deep into their personal histories to tell stories that were intimate, heartbreaking and inspiring.

Based on these meetings and on additional research, Miyagawa wrote I Came to Look for You on Tuesday, which makes its world premiere, directed by Reagan, September 26th to October 13th at La MaMa’s First Floor Theater (74A East 4th Street). Days and times of performances will be announced soon. As of mid-August, tickets, which are $18, will be available at www.lamama.org and212.475.7710, and in person at La MaMa’s main box office (74A East 4th Street).

Out of Control

Where is the line between stubborn and principled?

Robert Emmet Lunney as Buzz Adams and PJ Benjamin as Ray Deluso in "I Forgive You, Ronald Reagan," by John S. Anastasi at the Beckett through Aug 25. Photo by Carol Rosegg.

The major thread in "I Forgive You, Ronald Reagan," at the Beckett Theatre through August 25th, is about staying the course. Reagan  famously, after issuing a warning, did not back down and the air traffic controllers who remained on strike lost their jobs. He showed the world that he was not a waffler, and  on August 5, 1981, 11,345 PATCO employees were fired.

Patricia Richardson as Jane and PJ Benjamin as Ray in "I Forgive You, Ronald Reagan." Photo by Carol Rosegg.

Both sides based their actions and decisions on principles. Against this backdrop of history, John S. Anastasi has written an intelligent family theatrical piece.

Ray Deluso (PJ Benjamin) believed that PATCO would prevail if everyone held fast. His choice to not return to work proved to be life altering. Not only did he lose a job he loved, but he apparently also lost his mind. His wife, Jane (Patricia Richardson) paid a hefty price, as well, of course, and there is plenty of tension in their household.

Twenty-three years later, Ray has mostly recovered from his depression, but he still has not forgiven his best friend, Buzz Adams (Robert Emmet Lunney) for returning to work.

PJ Benjamin as Ray with Robert Emmet Lunney as Buzz in "I Forgive You, Ronald Reagan." Photo by Carol Rosegg.

The ensemble of four is rounded out by the Deluso's pampered daughter, Tess (Danielle Fatielson), an aspiring actress, who even at 26 is daddy's little girl. Under Charles Abbott's guidance  in "I Forgive You, Ronald Reagan," the cast give excellent, realistic performances.

"I Forgive You, Ronald Reagan" is put together well, with the flashbacks and most of the expository scenes keeping both the drama alive and the plot moving. There is a small quibble at the ending, which holds an air of mystery at the curtain.

All in all, however, "I Forgive You, Ronald Reagan" is an entertaining and engaging work, well-worthy of the talent in it, and of your attention as an audience.

For more information on"I Forgive You, Ronald Reagan," please visit The Beckett site.

A Broadway "First Date"

The cast of "First Date," which opened at the Longacre on August 8, in a photo by Chris Owyoung.

There is no doubt a need for "a guide to what not to do, when you meet someone new." No, those lyrics are not in Broadway's "First Date," currently at the Longacre Theatre in an open run. They are mine, inspired as it were by Alan Zachary and Michael Weiner, music and lyrics, and Austin Winsberg, book, as it were.

The composers and lyricists have done a nice if generic job tweaking genres with a little bit of pop, a touch of rock, a pinch of rap, and, since this is a romance, a ballad or two.

Krysta Rodriguez as Casey and Zachary Levi as Aaron. Photo by Joan Marcus.

In "First Date," by which the auteurs really mean "blind date," Casey (Krysta Rodriguez) offers Aaron (Zachary Levi) some useful pointers on what not to do in this situation. Aaron and Casey are meant to be the opposites that attract, and we're rooting for them.

Casey relives her "Bad Boy" past: Kristoffer Cusick, Krysta Rodriguez, and Bryce Ryness in "First Date."
Photo by Joan Marcus 

But, "First Date" is more of sketch than a full-blown musical. Even as a skit, it quickly goes from a cute parody of a blind date, to one that has overstayed its welcome.

Like the preparation involved in looking just right for a "First Date," there was a lot of work and talent lavished on this minimalist production. Just as not every "First Date," blossoms into a long-term love connection, so it is with this one. What begins as an amusing riff on the horrors of the blind date, turns into a tedious "First Date."

In fact, "First Date" seems to miss by thirds-- it's a third too long to be witty, and the third iteration of the "Bailout Song' is just one too many to be funny.

Wanting to learn more about "First Date," visit  www.firstdatethemusical.com.

"Soul Doctor:" When The Rebbe Met the Jazz Singer

The cast of "Soul Doctor," including Ian Paget, Teddy Walsh, Ryan Strand, Alexandra Frohlinger, and
Abdur-Rahim Jackson surround Eric Anderson as Shlomo Carlebach (with guitar). Photo by Carol Rosegg.

It's such an old adage that it is often dismissed as trivial, but music does have the power to unite and soothe!

In "Soul Doctor," at Circle in the Square for what should prove a very long run, a fusion of musical styles seems to restore the "doctor" as much as it does his flock.

Shlomo Carlebach (Eric Anderson), whose autobiography is inspiration for "Soul Doctor," created by David Schechter (lyrics) and Daniel S. Wise (book, and direction) from a concept by Jeremy Chess, with additional material by Neshama Carlebach, came to be known as the "Rockstar Rabbi." Learning about him is one of the many blessings of this musical.

Stiff and bashful to begin with, Anderson's Shlomo grows into the easy showman who goes everywhere to spread a message of love and peace. Shlomo even returns to Vienna, from which he and his family fled the Nazis when he was a boy. It's Nina  Simone (Amber Iman), who invites him to join her in the 1972 concert in the Vienna City Square. Nina seems to have had a knack of recognizing what Shlomo needed for him to find healing.

Eric Anderson as Rabbi Carlebach and Amber Iman as Nina Simone in "Soul Doctor." Photo by Carol Rosegg.

Admittedly, Nina Simone is an unusual hook for a story, but then this is an unusual tale about the unusual musical force, that was Shlomo Carlebach. Shlomo stumbled upon Nina playing in a Greenwich Village bar and they remained fast friends. She liberated his voice, and helped launch his performing and recording career.

Much of the music in "Soul Doctor" is a fusion of jazz, rock, folk and the Jewish liturgical traditions and gospel, written by Shlomo Carlebach, who died in 1994 at the age of 69.

Shlomo Carlebach, the hippie Rabbi, sang of "harmony and understanding." He said "We have to show them a picture of a better world," and went about changing millions "one by one by one."

The large ensemble cast anchored by Eric Anderson as Shlomo and Amber Iman as Nina are terrific. There is some very original choreography that also helps carry "Soul Doctor," by Benoit-Swan Pouffer. Nice work all around.

As "Soul Doctor" opens, and the cast wanders in through the auditorium and onto the stage, singing joyously, it's tempting, if a bit glib, to say that "Hair" has met "Fiddler."  "Soul Doctor" has much of the same life-affirming spirit of those terrific musicals. And  an uplifting spirit all its own, as well.

Visit http://souldoctorbroadway.com/ to learn more about "Soul Doctor."

Let Us (Mostly) Praise "Summer Shorts"

Alan Zweibel's "Pine Cone Moment" part of Summer Shorts 2013, with Cmille Saviola as Bunny, Caroline Lagerfelt as Emma, Brian Reddy as Harry, and James Murtaugh as Brian, at 59E59 Theaters through August 31.
Photo by Carol Rosegg.

Like with tapas, you can fill up on three short plays and walk away fully satisfied. Of course, sometimes not every dish is perfectly delicious. Having one of out 3 morsels be good is not great, but 4 out of six is just fine.

"Summer Shorts," at 59E59 Theaters throough Augsut 31, celebrates the short form with 2 sets of one act plays by some of America's top playwrights. From past seasons of this seven year old festival, expectations may vary. Will they be diamonds in the rough or little jewels of invention?

Leaving the best for last, let's get Series A out of the way first. It opens with Neil La Bute's "Good Luck (in Farsi)" which is obvious and repetitious. This is the weak sister of the programsm about back-stabbing actresses, Paige (Elizabeth Masucci) and Kate (Gia Crovatin) vying for the same role. La Bute - who also directs this playlet--  hits a satirical mark or two in the overlong short play. To be fair, La Bute has had some very successful outings with the short form at past "Summer Shorts," but really he should have quit while he was ahead. "Good Luck (in Farsi)" is too much like a sketch and too little like a fully-developed play in miniature.

In Marian Fonatana's "Falling Short," Kendra Mylnechuk is Lee, Shane Patrick Kearns is Eric and Others, and JJ Kandel is Nate. Photo  by Carol Rosegg

Sarah (Marisa Viola) is both the narrator and a participant in the annoying sound-bite "About A Woman Named Sarah," by Lucas Hnath. The play is about Palin's selection interview with John (Mark Elliot Wilson) and Cindy (Stephanie Cannon) McCain. In it  not even Todd (Ben Vigus) wants her to run.

The best of Series A is Tina Howe's "Breaking the Spell." A non-fariytale, tweaking the Sleeping Beauty story, with a touch of gibberish, a little tap, a lot of music, "Breaking the Spell" is a full-on vaudeville approach to the saga of the 100-year sleep. Michael Countryman is the king sitting vigil over his daughter, Cristabel (Crystal Finn) with Poor Wretched Fool (aka PWF, Evan Shinners, who also plays other parts and piano and accordian) mad over her and doing all he can to awaken the princess. Jesse Scheinin plays the sax that fails in its attempt at "Breaking the Spell."

"Summer Shorts 2013 Series B" proves the adage that good things come in small packages.Series B features three of rhe most enjoyable short plays. These are  about love and desolation, and each hits a different rhythm, and all three stride forward towards a revelation.

"Change" doesn't come easy to three college pals, Ted (Alex Manette), Jordan (Michael Dempsey), and Carla (Allison Daugherty), reuniting after 20 years. Paul Weitz' sardonic look at the ways we grow up after graduation is bitterly funny.

"Falling Short" is tender and moving. Marian Fontana's heroine, Lee (Kendra Mylnechuk) delivers some very funny bon-mots, including her pity analysis of the writer's plight. "It's like having a paper due everyday of your life." Lee's date with the over-the-top quirky Nate (JJ Kandel) whom she met on-line is charming. Well directed by Alexander Dinelaris, the playwright of Red Dog Howls, and other works.

Alan Zweibel's "Pine Cone Moment" is a beautiful look at how to move on. The aging protagonists, Emma (Caroline Lagerfelt) and Harry (Brian Reddy) are both haunted and encouraged by their dead spouses, Bunny (Camille Saviola) and Brian (James Murtaugh).  As Bunny did in life so, with her red dress and plus-size personality Camille Saviola steals the show. Also outstanding as the boyishly wide-eyed Harry is Brian Reddy in an exceptionally fine cast.

The acting in all the pieces, good and bad, was very good. Besides the wonderful ensemble in "Pine Cone Moment," the nice work in "Breaking the Spell," and "Falling Short,"Alex Manette and Allison Daugherty in "Change" also made a great impression.

The best of "Summer Shorts" are one-acts with an arc. In Series B, as a case in point, this season, there was a generously fine array of succinct dramas with finely developed characters and fleshed out plots.

For more information about "Summer Shorts 2013," please visit http://www.summershortsfestival.com/

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/