Finding his own path, "Philip Goes Forth"

Striking off on one's on is a privilege and a rebellion in which the young often indulge, heading out to find their own success.

Philip (Bernardo Cubria) and his father, Mr. Eldridge (Cliff Bemis) have a fundamental disagreement as Mrs. Randolph (Christine Toy Johnson) looks on in Geroge Kelly's "Philip Goes Forth" at the Mint extended through October 27. Photo by Rahav Segev.

"Philip Goes Forth," at the Mint Theater in an extended run through October 27th, is about one young man's contention with his father over his future .

Mrs. Randolph and Philip in the Mint production of "Philip Goes Forth." Photo by Rahav Segev.

In this classic generational dispute, Philip Eldridge (Bernardo Cubria) is in a fine pique over his father's (Cliff Bemis) high-handed dismissal of his ambitions. When Philip appeals to his aunt, Mrs. Randolph (Christine Toy Johnson)  she tells him, "You may be able to do wonders, Philip ,—I know nothing at all about it . And if I did know—that you had it in you to succeed even moderately at it ,.....—I should be the first to encourage you." She is sympathetic, but worried, ".. I've read so much of the disappointments and heartbreak of writers; and I'm sure the majority of them must have ridden away wit h very high hopes."

Mrs. Oliver (Carole Healey) pays Mrs. Randolph (Christine Toy Johnson) a visit. Photo by Rahav Segev.

George Kelly's play gets off to a slow start, but as "Philip Goes Forth," by the second act, it gains momentum and the power to captivate. Philip's adventure takes him to New York City, where he feels an endeavor like his to write plays should prosper.

Mrs. Oliver (Carole Healey) and her daughter, Cynthia (Natalie Kuhn) both support Philip's desires to become a playwright. Cynthia expresses her delight that he is planning to try his hand at writing. Mrs. Oliver says, "Why not?—I mean, after all, it 's your life. And if it's unexpressed, remember there'll be nobody to blame but yourself."  And it is with that encouragement that Philip sallies off to Mrs. Ferris' (Kathryn Kates) boarding house. There his college roommate, Tippy Shronk (Teddy Bergman) further fuels his aspirations. The other housemates gatherred in Mrs. Ferris' drawing room include Miss Krail (Rachel Moulton) a delightfully absent-minded poetess and the tormented Haines (Brian Keith MacDonald.)

Philip (Bernardo Cubria) shares his dreams with Cynthia (Natalie Kuhn) in "Philip Goes Forth." Photo by Rahav Segev.

Ironically, in New York, Philip finds great success at what you would call a "day job" where he labors in a novelty business. He is on the verge of a promotion when he receives visits from family and friends.

The direction, under Jerry Ruiz, seems a bit uneven, as Philip, Shronk and Mrs. Oliver are given free reign to be over the top, while the rest of the cast seems to take a more naturalistic approach. However, both Bernardo Cubria as Philip and Carole Healey as Mrs. Oliver find their place in our hearts as "Philip Goes Forth" proceeds into the later acts. Rachel Moulton is extremely fetching as the resident versifier, who "stress[es] the necessity of beauty unduly."  Natalie Kuhn is sweet as Philip's girlfriend; her enthusiasm for the romance of a writer's life is comic and touching.

George Kelly, who was wildly popular in the late 1920's, is seldom staged today.  Go forth, and enjoy this reclaimed little gem from a mostly forgotten master of stagecraft.

Visit http://minttheater.org/currentproduction.php for more information and tickets to the Mint's production of "Philip Goes Forth."

Love and regrets in "A Dish For The Gods"

"The Portrait of Dorian Grey" comes to mind, in which Dorian's youthfulness is dependent on his portrait's aging.

Kevin Cristaldi as Greg and Margot White as Julia in Victor L. Cahn's "A Dish For The Gods" in a Rachel Reiner Production at Theatre Row's Lion through October 5th. Photo by Jon Kandel.

In Victor L. Cahn's new play "A Dish For The Gods," at The Lion in Theatre Row through  October 5th, the balance of success is scaled so that the acolyte's career soars while her mentor's fails.

Julia (Margot White), invited to lecture on women writers, reminisces about her one great love, Greg (Kevin Cristaldi,) who nurtured her growing ambitions and interests as a writer and academic.

Remembering her first encounters with the charismatic Greg, she says "A lot of people assumed that his manic energy manifested some demon inside. Young women were especially prone to this judgment. Our pipeline also clarified that he was single and … how can I put this … energetic. As at least three women in our offices could testify personally."

Julia found with time that she blossomed into a world-renowned writer and lecturer under Greg's inspiration. But as she flourished, Greg floundered.

Margot White as Julia with Kevin Cristaldi as Greg in "A Dish For The Gods." Photo by Jon Kandel.

Director Adam Fitzgerald does Cahn's excellent play credit, seamlessly bringing the past into the present as Julia winds her tale of  love and loss. A simple set, designed by David Arsenault, serves the many venues "A Dish For The Gods" inhabits.

Margot White and Kevin Cristaldi are both excellent in this two hander. She tells her story so naturally that it feels as if it were ex-tempore. He gracefully swings from mood to mood, first the manic popular professor then the defeated drunk.

You will have no regrets seeing "A Dish For The Gods."

For more information about "A Dish For The Gods," visit www.RachelReiner.com, or www.theatrerow.org/. For tickets, go to www.Telecharge.com. At the box office, you may purchase the tickets for the bargain rate of $19.25.

Flaunting convention: GSB's specialty

The polemical isn't always preachy.

Sean McNall as Mr. Valentine is demonstrative with Amelia Pedlow's Gloria Clandon. Dan Daily as Walter Boon, the waiter aka William in The Pearl's production of GSB's "You Never Can Tell." Photo by Al Foote III.

Sometimes, as in George Bernard Shaw's  "You Never Can Tell," in a charming production by The Pearl Theatre Company in cooperation with the Gingold Theatrical Group whose Artisitic Director David Staller directs this presentation at the Pearl's home on W42nd through October 17, it's keen and cheeky.

Sean McNall, Ben Charles, Emma Wisniewski, Zachary Spicer, Dominic Cuskern. Photo by Al Foote III.

One expects a George Bernard Shaw play to avow socialism and eschew class, and uphold the view that women rule over men; these POVs show up in so much of what he wrote, even "Pygmalion," the play on which "My Fair Lady" rests. They are on display also in the seldom-seen and lesser known "You Never Can Tell." 

Robin Leslie Brown is Mrs. Margaret Clandon in GSB's "You Never Can Tell." Photo by Al Foote III.

In "You Never Can Tell," Mrs. Margaret Clandon (Robin Leslie Brown) returns from an eighteen year exile in Madeira to an English seaside town. With her are her children Dolly (Emma Wisniewski), Philip (Ben Charles) and Gloria (Amelia Pedlow.) The two younger, Dolly and Ben are untamed and wild. It is an unabashed pleasure to watch newcomer Emma Wisniewski scampering about.

Mrs. Clandon earns an esteemable income and some celebrity from a series of books about 20th century manners in which she flaunts convention and espouses liberation for women. She has attained some of that liberation for herself, as she has succeeded in separating from her marriage without actually ending it.

Sean McNall as the dentist Mr. Valentine with Emma Wisniewski as Dolly Clandon in "You Never Can Tell" by George Bernard Shaw. Photo by Al Foote III.

Mrs. Clandon has raised her children to be independent. Her eldest, Gloria was brought up with a belief in her emancipation as a woman. Gloria's self-reliance does not hold up so well when Dolly introduces her to her  new dentist, Mr. Valentine (Sean McNall.)

Mr. Valentine (Sean McNall) and Miss Gloria Clandon (Amelia Pedlow). Photo by Al Foote III.

Mr. Valentine, reduced to dentistry after several failed attempts at other medical practices, suffers from an excess of levity and a shortage of funds. He is so poor that he is forced to dupe his landlord, Fergus Crampton (Bradford Cover), in order to cover his past rent.

The first act of "You Never Can Tell" tends to mystify. But oh, when it all becomes clear in the second act, what a delight.

Rounding out the superior ensemble are Dan Daily as Walter Boon, called William by Miss Dolly; Zachary Spicer as Walter Bohun, a distinguished attorney brought in to mediate a case for Mrs. Clandon by her solicitor, Finch McComas (Dominic Cuskern). Barbar Bell has designed a plethora of lovely costumes for
the cast to wear in Harry Feiner's lovely sets.

L-to-R, seated Dolly (Emma Wisniewski), Fergus Crampton (Bradford Cover), Gloria (Amelia Pedlow), Mr. Valentine (Sean McNall), Mrs. Margaret Clandon (Robin Leslie Brown), with Philip Clandon (Ben Charles) directly behind her. Standing L-to-R, Finch mcComas (Dominic Cuskern), Walter Bohun (Zachary Spicer), and Walter Boon (Dan Daily). Photo by Al Foote III. 

"You Never Can Tell" is as sparkling a production as the champagne uncorked for all to sip at the curtain.

For more information about "You Never Can Tell," please visit The Pearl's website.

When Cassius Became Muhammed

Nikki M. James as Sonji Clay, K. Todd Freeman as Stepin Fetchit, Ray Fisher as Muhammad Ali, and John Earl Jelks as Brother Rashid in Will Power's "Fetch Clay, Make Man," at NYTW. Photo by Joan Marcus.

Image is more about politics than substance. How you present yourself is not necessarily who you are.

Unless of course, you're Muhammad Ali, for whom the image was a sincere reflection of who he was. In Will Power's drama, "Fetch Clay, Make Man," at the New York Theatre Workshop through October 13th, while everyone around him may be cynical, Ali (Ray Fisher) is earnest in all his beliefs and his desire to be a shining example of the best a black man can be.

Ray Fisher is Muhammad Ali and K. Todd Freeman is Stepin Fetchit in Will Power's "Fetch Clay, Make Man," at NYTW. Photo by Joan Marcus.

So why did this proud and powerful black man invite Stepin Fetchit  (K. Todd Freeman), a man whose comedy portrayed a shuffling Negro servant, to his training camp. Stepin Fetchit seems like an odd associate for Ali to bring into his inner circle right before his second bout with Sonny Liston.

Power's tale is based in truth, however, and Ali did invite Step to his training camp in Maine in 1965. While Will Power and Wikipedia have quite different views on the genesis of the relationship, Power's story is a much-researched and nuanced look.

In "Fetch Clay, Make Man," Muhammad Ali is far more mercurial than Step, whose ambition is to clear his name of the blemish it bears. Co-opting the character of a shiftless Negro was Lincoln Perry's act of subversion. He was obliged to stay in character his whole life, however, and at the end he was famously Stepin Fetchit.

K. Todd Freeman as Stepin Fetchit with Richard Mazur as William Fox in "Fetch Clay, Make Man," at NYTW.
Photo by Joan Marcus.

"No no no, look I know your real name.  But to the world you are Stepin Fetchit.  Now and forever," William Fox (Richard Mazur) tells him in one of the flashbacks to the Hollywood of the '20s and '30s.
"You’re Stepin Fetchit.  And when you talk like this in the New York Times, speaking of your fondness for concert recitals, Step you confuse the people...." Playing to the stereotype was Stepin Fetchit's way to turn the prejudice on its head.

Ray Fisher as Ali and Nikki M. James as Sonji Clay in NYTW's production of "Fetch Clay, Make Man."
Photo by Joan Marcus

Muhammad's wife Sonji Clay (Nikki M. James) is delighted to meet him."Your father liked his movies?," Ali says. "He did.  And he would always talk about ‘em.  How you made him laugh his head off when you would act lazy, you know so you didn’t have to do the white man’s dirty work," Sonji says. "But still get paid for it," Step retorts. Concerned with his legacy and eager to rekindle his career, Step hopes to use his association with Ali to change perceptions.

"And see I’m tryin’ to tell people that that’s not who I am, I ain’t the enemy.  But I ain’t about to pick up no gun, or put on no bow tie," Step tells Sonji, "that ain’t me.  I fight on the screen, that’s my battlefield.  And pretty soon, I’m gonna go back there and take back my title, as the greatest negro picture star that ever lived."

John Earl Jelks as Brother Rashid with Nikki M. James as Sonji Clay in "Fetch Clay, Make Man," at the NYTW through October 13th. Photo by Joan Marcus.

Lots of fancy footwork goes into Fisher's portrayal. Literally and theatrically. He is Ali. Freeman's Step is a dignified man who has played the clown too long. Nikki M. James is completely lovable as Sonji, Ali's first wife. His betrayal of her is disappointing, but the Nation of Islam have him enthrall. He is an acolyte and Sonji is a victim of Ali's orthodoxy. John Earl Jelks is also excellent, rounding out the cast as Ali's body guard from the Nation of Islam, Brother Rashid. Jelks reserved thuggishness is a study in disciplined militancy.

Will Power's "Fetch Clay, Make Man" is a smart, well-written portrait of a man whose life has charmed his fans and detractors. Well, really it's a thoughtfully-written, portrait of two very different men whose lives have charmed and entertained.

For more information about "Fetch Clay, Make Man," go to the New York Theatre Workshop website.

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.