A Sampling of Off Broadway Theater

OFF-BROADWAY THEATRE LISTINGS

"The Mutiliated" extended through December 1.

Marie Antoinette. Photo by Pavel Antonov

SOHO REP 2013-14 SEASON TO INCLUDE NEW YORK PREMIERE OF DAVID ADJMI’S MARIE ANTOINETTE AND WORLD PREMIERE OF BRANDEN JACOBS-JENKINS’ AN OCTOROON

Directed by Rebecca Taichman and Sarah Benson, Respectively, Shows are Among the Most Ambitious Soho Rep Has Ever Produced

SOHO REP 2013-14 PROGRAMMING

Soho Rep,
with John Adrian Selzer, presents
Marie Antoinette (New York Premiere)
by David Adjmi
Directed by Rebecca Taichman

October 9 – extended to November 24
Opening: October 20
Performance Schedule: Tues—Sun at 7:30p, Saturday at 3p
In association with American Repertory Theater and Yale Repertory Theatre

Soho Rep,
In association with John Adrian Selzer, presents
An Octoroon (World Premiere)
by Branden Jacobs-Jenkins
Directed by Sarah Benson
April – May, 2014

Soho Rep. (46 Walker Street, Manhattan)
Tickets: Through Nov 3: $35 General / $50 Premium; Nov 5–17: $55 General / $75 Premium;
Nov 19—24: $55 General / $80 Premium; $20 Student Rush; $30 General Rush;
$0.99 Sunday, October 13, 27
sohorep.org; 212.352.3101

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"Bleeding Love", free staged readings of "a post-apocalyptic new musical comedy", book byJason Schafer, music by Arthur Lafrentz Bacon, lyrics by Harris Doran, directed by Michael Bush, presented by Amas Musical Theatre as part of the Amas Musical Theatre Lab Series, on Tuesday, October 15th at 3pm and 7pm and Wednesday, October 16^th at 1:00pm, at The Theatre at the 14^th Street Y, 344 East 14^th Street.

TICKETS: FREE

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

These performances are free

AMAS MUSICAL THEATRE

THE AMAS MUSICAL THEATRE LAB

Donna Trinkoff/Artistic Producer 

PRESENTS A FREE STAGED READING OF

FRIDA

A Musical

 by Michael Aman and Dana P. Rowe

Musical Director

Doug Oberhamer

 Directed by 

Maria Torres

Friday, October 25 @ 6:00pm

Saturday, October 26 @ 3:00pm & 7:00pm

The Theatre at the 14^th Street Y

344 East 14^th Street, New York City

(between 1^st and 2^nd Avenues)

For Reservations email boxoffice@amasmusical.org or call 212 563-2565

Visit www.amasmusical.org for more information   

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Photo by Daniel Phakos

Support the Walk.
Stay for the Dance!

In support of the Avon Walk for Breast Cancer, the Graham Ensemble and dancers from the Martha Graham School will premiere

"Reservoir"

a new dance work by Cynthia Anne Stanley, Founder of Bardos Ballet Theater,

Saturday, October 19, 2013

The Brooklyn War Memorial at Cadman Plaza Park 

11:15am - 2:00pm
The performance repeats every half hour

Performances are free to the public!

 Live Music by Owen Weaver

Costumes by Andrae Gonzalo

Dedicated to Brian Torrey Scott

Come celebrate, support and enjoy!
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ABRONS ARTS CENTER PRESENTS US PREMIERE OF IRISH THEATER COMPANY DEAD CENTRE

‘Souvenir’Adapts Marcel Proust’s Epic Novel Cycle Into An Hour-long Play

Abrons Arts Center Presents

Dead Centre, Souvenir (US Premiere)

Written & Performed by Bush Moukarzel

Directed by Ben Kidd

Performances: November 14–17, 20–23 at 8:00 p.m.

Abrons Arts Center Experimental Theater (466 Grand Street)

Tickets:$15, online at glob or by calling 212.352.3101
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Photo by Scott Wynn

Legendary avant-garde performers Mink Stole and Penny Arcade are set to star in the first New York revival in 38 years of Tennessee Williams's tender black comedy "The Mutilated." Directed by Cosmin Chivu, the prodcution runs Nov 1-24 at the New Ohio Theater has extended to December 1.

This is the first production in 38 years of the play, which will now continue it's run through December 1st in response to popular interest.

Penny Arcade, Male, Mink Stole in The Mutilated by Tennessee Williams, Photo by Cosmin Chivu

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The Public Theater Extends the world premiere musical 'Fun Home" to Sunday, November 17th.

Music by Jeanine Tesori, Book and Lyrics by Lisa Kron, Based on the Alison Bechdel Book

Directed by Sam Gold. Single tickets, starting at $81.50, can be purchased by calling (212) 967-7555, 

www.publictheater.org, or in person at the Taub Box Office at The Public Theater at Astor Place at 425 Lafayette Street. 

Photo by Joan Marcus

The Battle of "Jericho:" Personal or Biblical?

Joshua 6-1-27: Now Jericho was straitly shut up because of the children of Israel: none went out, and none came in.And the Lord said unto Joshua:'See, I have given into thy hand Jericho, and the king thereof, even the mighty men  of valour.'

The "Jericho" in the title of Jack Canfora's new play is not the Biblical one that was conquered by Joshua in acknowledgement of his allegiance to God's will. Or rather it is not only the one found west of the river Jordan, but also the community on Long Island in which Rachel (Jill Eikenberry) brought up her two boys,  Josh (Noel Joseph Allain) and.Ethan (Andrew Rein.) "Jericho"is very much about community and intertwined allegiances.

Jill Eikenberry, Carol Todd, Andrew Rein, Kevin Isola, Eleanor Handley, and Noel Joseph Allain in “Jericho” by Jack Canfora, directed by Evan Bergman and produced by The Directors Company, at 59E59 Theaters. Photo © by Carol Rosegg

Allegiance is a kind of connection that  Beth (Eleanor Handley), the central character in "Jericho," struggles to find.. She has always struggled with relationships, even before the cataclysmic events of September 11th left her widowed and in distress. At the beginning of "Jericho," Beth is "zoning out"as she puts it in her therapist Dr. Kim's (Kevin Isola) office, while they are discussing her new relationship with Ethan.

Kevin Isola and Eleanor Handley in “Jericho” by Jack Canfora, directed by Evan Bergman and produced by The Directors Company, at 59E59 Theaters. Photo © by Carol Rosegg

Beth is frangible and likable. She is glibly articulate, but can't seem to get herself together, and as this does not seem to bother her, we are all right with it as well. Beth is haunted by the appartiion of Alec (Kevin Isola), the husband she lost on 9/11. She sees him everywhere, even sitting in her therapist's, Dr. Kim's (Kevin Isola) chair.

Noel Joseph Allain and Andrew Rein in “Jericho” by Jack Canfora, directed by Evan Bergman and produced by The Directors Company, at 59E59 Theaters. Photo © by Carol Rosegg

In "Jericho," in the four years since the World Trade Center towers fell, Beth is not the only one can't cope. Josh, to the dismay of his wife Jessica (Carol Todd), has become obsessive, finding every attack anywhere in the world to be one aimed against Jews. Unlike Beth, Josh is brittle and off-putting. He has become a stranger in a strange place. Josh's motivation seems weak even in the context of traumatic occurrences.

Carol Todd and Jill Eikenberry in “Jericho” by Jack Canfora, directed by Evan Bergman and produced by The Directors Company, at 59E59 Theaters. Photo © by Carol Rosegg

The opening act of "Jericho" sets the stage for a poignantly funny play. The writing is witty; the characters make unexpected observations. As "Jericho" progresses, it also gets bogged down, and loses its light footing. The first-rate ensemble, under Evan Bergman's direction, never loses its way, however, each giving extraordinary performances. The scenic design that Jessica Parks has created for "Jericho" is as so animated that it is allmost another character on the stage.

For more information about "Jericho," please visit
www.59e59.org.

Pinstripe Pride in "Bronx Bombers"

Fact is that in 1977,  when manager, Billy Martin benched the  Yankees newly-acquired star hitter Rggie Jackson for lack of hustle in the middle of a game, there were fireworks in the press. It was an unprecedented move and it fueled the excitement that bad blood between friends and teammates gives reporters.

This is the story that Eric Simonson sets out to tell in "Bronx Bombers," at Primary Stages at the Duke on 42nd Street through October 19th only. It is an entertaining tale an sufficiently compelling, involving as it does conflict and possible resolution.

Francois Battiste as Reggie Jackson in the Primary Stages production of "Bronx Bombers" at The Duke on 42nd Street © 2013 James Leynse.

As "Bronx Bombers" opens, Yogi Berra, (Richard Topol) wants to fix the rift and quiet the ruckus. His devotion is to the team, and he calls in Reggie Jackson (Francois Batiste) and Billy Martin (Keith Nobbs) for an intervention. Thurman Munson (Bill Dawes) is an ineffective mediator at this pow wow.

Keith Nobbs as Billy Martin in the Primary Stages production of "Bronx Bombers" at The Duke on 42nd Street © 2013 James Leynse.

Somehow this amiable retelling of the 1977 incident derails, and the second act of "Bronx Bombers" loses its way. The turn it takes is into Yankee hagiography. Yogi suffers a nightmare in which the Yankee greats come to his house to help him sort out his problem. Lou Gehrig (John Wernke), the Babe (CJ Wilson), Mickey (Bill Dawes), Joe DiMaggio (Chris Henry Coffey), are joined by Elston Howard (Francois Battiste) and Derek Jeter (Christopher Jackson) at Carmen Berra's (Wendy Makkena) richly laid table.

Yogi's nightmare becomes ours as the "Yankee Immortals" dine and dish over teams past. Egos- aside is the definition of what makes a team, but was this ever really true of the New York Yankees.

In their best years, they had a ball club full of egos and outsize personalities. There is a sort of "Soviet" style to Simonson's play. "Bronx Bombers" makes for excellent Yankee propoganda, touting their exceptionalism.

Has Eric Simonson created a niche as a sports-theme playwright? His three recent outings, including this one, are in league with the Leagues: "Magic/Bird" was NBA co-produced; "Lombardi" had the support of the NFL. "Bronx Bombers" is produced in association with The New York Yankees and Major League Baseball.

The acting is universally fine, with Richard Topol's Yogi a stand out in the cast. David C. Woolard's well-researched, and superbly-executed, costume designs mean that this cast sports authentic style throughout.

Yankee fans will enjoy the second act of "Bronx Bombers" for the feeling of a visit with the team's biggest names. Others will find the nice conflict in the first act exceptionally enjoyable.

For more information about "Bronx Bombers," please visit  http://www.primarystages.org/bronxbombers.

As delicate as glass

One might think that
it  would be tiresome to see a play over and over again. One would be wrong if that play were from Tennessee Williams' greatest hits. They are so subject to reinterpretation that just the anticipation of a new production fires the imagination.

"The Glass Menagerie," at the Booth through January 5th, rewards the patience of its audiences.

Cherry Jones as Amanda Wingfield and Celia Keenan-Bolger as Laura in "The Glass Menagerie" at the Booth.
Photo (c) Michael J. Lutch

As always in "The Glass Menagerie," Laura's (Celia Keenan-Bolger) familiar collection of glass figurines are a reminder of how frangible life and memory are.  We know that "The Glass Menagerie" is a memory play because her brother, Tom Wingfield (Zachary Quinto), tells us so as he introduces his narration. We also know that memory can play tricks. Tom illuminates a past he will ultimately leave behind him.

Brian J. Smith as Jim, the Gentlemen Caller coming home for dinner with Zachary Quinto's Tom.
Photo (c) Michael J. Lutch  

Zachary Quinto wears his "touch of the poet" magnificently. At times he is taken air-borne as the poesy in Williams' play takes flight. Celia Keenan-Bolger's understated fragility gives Laura the delicacy of one of her glass pieces. Like her favorite little glass unicorn, she doesn't fit in. While her unicorn is comfortable with the others in her collection, she is always ill-at-ease. Even the amiable Gentlemen Caller (Brian J. Smith) puts Laura at sixes-and-sevens.  Laura's mother, Amanda (Cherry Jones) wants to provide a future for Laura who is crippled as much by her inability to connect with others as by her physical disability.

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Tom (Zachary Quinto), Amanda (Cherry Jones) and Jim (Brian J. Smith) at the table, and Laura (Celia Keenan-Bolger) on the coach in "The Glass Menagerie." Photo (c) Michael J. Lutch

"The Glass Menagerie" is an often revived work out of Tennessee Williams' oeuvre. This is probably at least in part due to its fluidity of style. The blend of sublime melancholy with a sincere naturalism gives the play its many levels.

In "The Glass Menagerie," Amanda lives in a world of her own imagining. She lives in a glamorous past, before she married the telephone man "who fell in love with long distance."  Amanda masks her strength under a cloak of Southern gentility. Cherry Jones does this well, despite the plummy accent that makes some of her bon mots unintelligible.

Celia Keenan-Bolger as Laura with Brian J. Smith as Jim, the Gentlemen Caller in "The Glass Menagerie" at the Booth.  Photo (c) Michael J. Lutch. The production has extended to February 23, 2014.

Tom suffers his remembrances as if they were lashes on his flesh. Tom transcends the world of imagination and reality. He recalls and edits where he has been so he is free to travel on to new adventures and move on with his life.  It is Jim, the Gentleman Caller, who embodies a healthy sensibility. He brings a reality to the Wingfields' home. Brian J. Smith's affability as Jim is a pleasant is a stark contrast to the family's insularity.

Natasha Katz's lighting is a fifth character in "The Glass Menagerie," moody and intense. The well-designed costumes, and capriciously off-kilter sets by Bob Crowley are a perfect fit for this production.
John Tiffany's languid pacing in the first act, suggesting a dream-like unreality could be benefit from a little tightening. This is just a niggling issue with this transcendent "The Glass Menagerie."   It is a noble addition to the author's grand and eloquent legacy. (See also the review by Tamara Beck on VP at http://www.vevlynspen.com/2013/11/the-glass-menagerie-worthy-tribute-to.html)

For more information on "The Glass Menagerie," visit http://theglassmenageriebroadway.com

Saving Blemons in "The Film Society"

Sometimes a politically-inspired play turns out to be remarkably innocent of politics.

So it is with Jon Robin Baitz' "The Film Society," at least in its current Keen Company production.

"The Film Society" is unquestionably apolitical. Although there are some incendiary statements made by several of its characters, the lead, Jonathon Balton (Euon Morton) is strangely  unaffected by any of the turmoil in Durban, South Africa circa 1970.

Despite Terry Sinclair's (David Barlow) avowed radicalism, and Hamish Fox's (Richmond Hoxie) rabid aversion to the progressive, "The Film Society" is dispassionate. Given its setting, "The Film Society" is rife with possibilities for genuine conflict; instead it devolves into a tale of petty manipulation.

David Barlow as Terry and Euon Morton as Jonathon in "The Film Society" at the Keen. Photo by Carol Rosegg.

The survival of Neville Sutter's (Gerry Bamman) derelict boys school is meant to be the meat of the drama.
In its resurrection, the generally unmoored Jonathon is to find purpose. Certianly that is his mother's (Roberta Maxwell) fervent intention.

Mrs. Balton sees her son's future clearly. Can Jonathon abandon his friendships with Nan (Mandy Siegfried) and Terry Sinclair?

There are a couple of exceedingly poetic passages in "The Film Society," although both wax on about unappetizing decay. Surely a connection is to be made there. But neither revolutionary change, nor fettered recalcitrance has a clear win.

Euon Morton is appealingly naive as Jonathon. David Barlow stands out along with Roberta Maxwell in the ensemble because they offer consistent visions for their characters. They also not incidentally are able to hang on to their accents, a nagging problem for some of their fellows, if not for Morton to whom it comes more naturally.

"The Film Society" sets up an opportunity to explore the politics of South Africa that is squandered in the dullness of the first act. "The Film Society" is somewhat redeemed as we proceed to the second, but it continues to suffer from a lethargy.

A Tony win, like Jon Robin Baitz' for "Other Desert Cities" will buoy a production of any of his works. Unfortunately, "The Film Society," with its potential is unfocused, discolored by an apathy that seems unlikely for its place in time.

For more information about "The Film Society," please visit http://www.keencompany.org/home/

Surviving With Bart In Anne Washburn's "Mr. Burns..."

 Survival may well be in the smallest of small details.

In "Mr. Burns, A Post-Electric Play," those details are found in re-enacting what can no longer be seen on TV since the grid exploded. It's clearly a generational thing. Fans of the Simpsons will no doubt enjoy the retelling of episodes in all their arcane context, the rest of us will happily head for the exits.

Photo by Joan Marcus: Susannah Flood, Gibson Frazier, Matthew Maher, Sam Breslin Wright & Quincy Tyler Bernstine in Playwrights Horizons production of Anne Washburn's "Mr. Burns, A Post-Electric Play."

The campfire at which "Mr. Burns, A Post-Electric Play" opens is dominated by Matt (Matthew Maher), whose knowledge of uall things Simpson is unrivalled. And impressively boring. Matt is a raconteur who must recall every detail. "No, no, wait, it's...."

From "Mr. Burns..." Jennifer R. Morris, Sam Breslin Wright, Gibson Frazier, Colleen Werthmann & Susannah Flood in a photo by Joan Marcus.

Who knew that a world after a nuclear apocalypse would be enlivened by live reruns of old TV shows and commercials? In the universe of "Mr. Burns...," there is nostalgia for diet coke and endless unsubstantiated counting of how many have survived.

Matthew Maher, Jennifer R. Morris, Quincy Tyler Bernstine, Sam Breslin Wright, Colleen Werthman,  Nedra McClyde & Gibson Frazier in "Mr. Burns..." by Anne Washburn. Photo by Joan Marcus.

All this makes "Mr. Burns..." an odd one-joke kind of tragedy. The characters are recognizably drawn from life. Many of them are the type who tease meaning out of trivia. There are the democracy-hungry, like Quincy (Quincy Tyler Bernstine), looking for a concensus on what will be agreed upon. The nitpicker for whom every suggestion seems like too much to do is Matt, ahead by a nose in front of Gibson (Gibson Frazier) who suffers from some of the same qualms.

The horror of end-times is trivialized, or maybe Samuel Beckett-ized a la Mod if not lite,  in "Mr. Burns...." The troupe of Simpson impersonators at the center of "Mr. Burns" never really gets our sympathy for their plight.

Steve Cosson directs "Mr. Burns..." to bring out the ordinary in these extraordinary circumstances.  BTW, The characters in the play are use the given names of the actors portraying them which makes one wonder if future (or past) productions will (have) rename(d) them for their starring casts.

Anne Washburn's vision in "Mr. Burns, A Post-Electric Play," is depressing. Not because radiation is annihilating humanity. It is depressing because we cannot be roused to care.

To state the obvious, "Mr. Burns..." is cartoonish. Well, duh!

For more information about "Mr. Burns...," visit http://www.playwrightshorizons.org/shows/plays/mr-burns-post-electric-play/

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.