In David Auburn's "The Columnist," at MTC's Samuel J. Friedman Theatre extended to June 24th again through July 1st, Joe Alsop (John Lithgow) hides the open secret of his homosexuality in a marriage to his best friend's widow, Susan Mary Alsop (Margaret Colin.)
Alsop is as guarded about his personal life as he is aggressive in his professional activities. Joseph Alsop's was a liberal's conservative, anti McCarthy, and as excited by the Kennedy presidency as he was hostile to LBJ's good ole boy politics. He called both the Cold and Vietnam Wars all wrong but stayed the course even as his patrician accent and bespoke wardrobe went out of fashion. His gleeful quest for power and influence made him a much less reliable witness to history than his brother and one-time writing partner, Stewart (Boyd Gaines.)
Everyone in the cast of "The Columnist" is excellent, with John Lithgow in the lead giving an affecting portrayal of the work-aholic newspaperman. Grace Gummer, as Susan Mary's daughter Abigail, makes the most of her role as a foil to her stodgy stepfather.
TONY NEWS: or is it? John Lithgow is a nominee for 2012 Best Actor in a Drama!
In "Regrets," a group of men camp out in a Reno bungalow colony to establish residency. They are each bruised by their broken marriages. Mrs. Duke's (Adriane Lenox) cabins are a way-station for their lost souls.
South Pacific, is a big talent with a lovely voice and a natural ease on stage. Broderick's pleasant voice is buoyed by his castmates, many of whom give superb performances. The gypsies, dancing and singing in support of the main characters, under the direction and with choreography by Kathleen Marshall, are all excellent. The jazz era costumes by Martin Pakledinaz are resplendent and colorful.
Canal Park Playhouse is also an unusual venue because of its quaint landmarked setting in an 1828 canal house.
Most importantly for theater lovers, though, is the mix of surprising programming to be found at this lovely little theater.
For instance, weekends from April 21st to May 13th, "Drew the Dramatic Fool" (Drew Richardson)
brings his comedic sadsack "bumbling" to the Matinee/Brunch series. On Friday evenings from April 20th to May 11th, Drew gives slapstick a distinct edge in a show called "Help! Help! I Know This Title Is Too Long, But Somebody's Trying To Kill Me."
The recently launched "Play readings in the back room" are hosted by playwrights Joe Roland and Emily Devoti. Beginning on June 20th and running through July 15th from Wednesday through Saturday, come hear Frank McGuiness's "Someone Who'll Watch Over Me."
Visit http://canalparkplayhouse.com/ for more information on these programs.
Who doesn't like a festival? Embedded int he word is the possibilty of a happy-- okay, festive-- occasion. Everybody enjoys a celebration. What we are celebrating at 59E59 Theaters' "Scotland Week" are a couple of Scotland's fine playwrights and their supporting casts. The plays, "A Slow Air" by David Harrower, running through April 29th, and Gerda Stevenson's "Murray Versus Federer," on stage through April 22nd, are serious, even grim affairs. The latter about a couple, grieving over the loss of a son in war, and at war with each other. The former about a pair of siblings that have been estranged for the past fourteen years.
That is not to say that there is not plenty to celebrate here.
While "Murray Versus Federer" is written in short-hand, like the radio plays Stevenson scripts for the BBC, it is an intelligent and moving tale. It needs more time to pursue its subject in depth and allow its characters their full development, but what it gives us is subtle and well-written.
Grief is personal even when it's shared. In "Murray Versus Federer," Flo (Gerda Stevenson, also the writer and director), and Jimmy (Dave Anderson) are rent asunder in their bereavement. Their differences in temperament are underscored by their loss. Resentments lead them to blame each other.
"Well, tell me this, Mr. Expert," Flo says, "how come you kept yer mooth shut when Joe joined up? How come ye didnae dae yer schoolboy homework then, eh?" Jimmy explodes back at her "I'll no keep ma mooth shut just to keep a phoney fuckin peace in this hoose, a phoney fuckin peace that's packed wi lies. My son died fur lies, lies!" In "Murray Versus Federer," Flo and Jimmy share the stage with the memory of Joe, a Saxophonist (Ben Bryden), who alternately plays sad, soulful and jazzy tunes between the five short scenes.
"Murray Versus Federer," despite its brevity and because of the excellent acting, is affecting and intimate. The set by Jessica Brettle turns the small space into an elaborate living room with the catty-corner walls providing both background and a scrim behind which the Saxophonist is introduced.
In "A Slow Air," the siblings long estrangement is temperamental as much as circumstantial. Athol (Lewis Howden)is a steady hard-working bloke whose built a business in construction and lives in the suburbs. His sister, Morna (Susan Vidler) is a free-spirited and rebellious single mother who cleans rich folks' houses. Like the dimly lit stage it occupies, "A Slow Air" fails to illuminate any of the many themes on which it touches.
"A Slow Air" is structured as a double monologue. On the darkened stage (lighting by Dave Shea), in "A Slow Air" Jessica Brettle has designed a simple set on a roughly tiled floor that divides the two monologists. There is a high window on the back wall, and two wooden armchairs to which Athol and Morna withdraw like boxers into their corners.
For more information about the nearly month-long Scotland Week at 59E59 Theaters, please visit their website at www.59E59.org.
After a slightly slow start, "The Morini Strad," in a New York premiere at Primary Stages at 59E59 Theaters through April 22nd, just begins to hum beautifully. Willy Holtzman's play is based on truth but it is fantastic in all the best senses--odd and imaginative; the characters "The Morini Strad," get a grip and hold on tight.
Erica (Mary Beth Peil), once a child prodigy, has only memories of her great performances (enacted by violinist Hanah Stuart) and her Davidoff violin. Age has diminished her capacities. No longer able to play, she is difficult, even unpleasant to everyone-- especially to the students she takes on. She invites Brian (Michael Laurence), a luthier, to come to repair the violin.
Exacting and embittered, Erica asks Brian to sell the Strad. Beguiled by the promise of a huge payday, Brian invests his hopes and time in what may prove to be a futile endeavor.
Peil and Laurence beautifully play out the improbably affectionate relationship that develops between Erica and Brian. They give utterly believable and very moving performances.
For tickets and a schedule of performances, please visit www.primarystages.org.
David Wilson Barnes, Jennifer Mudge, Anita Gilette, Tom Bloom, Rachel Resheff. Photo byJoan Marcus.
The writing, the acting, the pace of the direction, all tell this engaging story that begins with Nicky (Phoebe Strole in this incarnation) and Sam (Cameron Scoggins) on their first dates. They meet, flirt, fight, and eventually reconnect, older (Jennifer Mudge is now Nicky with David Wilson Barnes playing Sam) and ready to commit. Sam and Nicky hang in over many more drinks and dinners, bringing their kids, Maddy and Robbie (Rachel Resheff and Griffin Birney) out to eat with Sam's parents, Alice (Anita Gillette) and Robert (Tom Bloom.)
The actors rotate into the characters as they age, picking up the nuances from generation to generation. "We really started something," Anita Gillette says late in "The Big Meal."
"The Big Meal" is delightful in its simplicity and authenticity. For tickets and information about "The Big Meal," go to www.playwrightshorizons.org.
Missing spring with the Paul Taylor Dance Company is a little like not getting to see the blossoms in Central Park. There is always much to celebrate as PTDC brings spring to New York City. This year, it was the 50th anniversary of the seminal Taylor dance-piece "Aureole."
As you probably know, the Company moved to the David H. Koch Theatre at Lincoln Center and will be there through April 1. Here are some highlights from the NYC season:
"Syzygy" , defined in the program notes as "the configuration of three or more celestial bodies in a gravitational system," has a lot of verve. The party on stage frugs like it's 1987 as Michelle Fleet demurely balances on one leg, pointing the other as she twirls. Ms. Fleet then proves she can really cut loose as the syncopated music composed by Donald York for the dance piece. PTDC's "celestial bodies" glide and jump with ease, push and pull at each other, rise and fall and rise again.
"Company B" is a personal favorite, and at its absolute best when performed by any of the PTDC groups.
Set during WWII, "Company B" to songs sung by The Andrews Sisters, gives us snippets from the homefront, with an occasional backdrop frieze depicting the warzone. It remains a light and airy paen to a bygone Americana despite these reminders that boys die in wars. James Samson's goofy Johnny is particularly endearing in "Oh Johnny, Oh Johnny, Oh!" and Eran Bugge is wonderfully seductive in "Rum and Coca-Cola."
"Gossamer Gallants" enjoyed a New York City premiere (as did "The Uncommitted," -- see review on this site at "A Gala To Launch PTDC's Spring") or rather, New York City enjoyed it. "Gossamer Gallants" is an extremely funny look at the battle of the sexes. The "gallants" in question, wonderfully costumed by Santo Loquasto, are insects, whose "gossamer" wings flutter as the girl insects, clad in light green one-piece capris, came by. Ultimately, they are menaced and oppressed by the females they started out chasing. The females wiggle invitingly from their bottoms to their antenae, until the boys, and the audience, are enthralled.
The tango-esque "Piazzolla Caldera" is another treat from the canon. The dancers' posture framed for the rigorous demands of the tango, their steps forceful and assured, yet the choreography only emulates the Spanish dance but in a totally soul-satisfying way.
For more information about the Spring Season of PTDC, visit the David H. Koch events page or go to www.ptdc.org/nyc.
The cast of The Pearl's production, particularly Kim Martin-Cotten as Josie Hogan, Dan Daily as Phil Hogan, and Andrew May as James Tyrone, under JR Sullivan's direction brings out all the poetry in O'Neill's beautiful script. It is as fine a revival as any of recent years.
Josie is raucous and boisterous, playing the rough and tumble housekeeper for her gruff father Phil. "A Moon For The Misbegotten" is set in 1923 on a ramshackle farmstead in Connecticut. It brings together two troubled souls, Josie and James Tyrone. In their moonlight encounter, they no longer pretend to be something they are not. Her tenderness redeems him and allows him a peace he has not felt for a long time.
Dan Daily, a Pearl Company stalwart, gives a superb performance as Phil, while Kim Martin-Cotten takes her place as one of the best of Josie's interpreters. Andrew May, reminiscent in affect and tone of Tom Hanks, has a fine sense of the torment James experiences. As the butt of Josie and Phil's joshing, T. Stedman Harder (Kern McFadden) is a a bit cartoonish. Rounding out the cast, the always fine Sean McNall plays a small but piquant part as Josie's brother Mike.
Kim Martin-Cotton as Josie Hogan and Dan Daily as Phil Hogan. Photo © Jacob J. Goldberg.
"A Moon For The Misbegotten" looks deep into the psychology of loss and longing; the three hours and fifteen minutes pass as a flash as JR Sullivan lets his cast explore the darkness and light in the play.
For a schedule of performances, please visit The Pearl Theatre.
"A Moon For The Misbegotten" is the final play of the season, and the last at the City Center venue. For their 29th season, The Pearl has found a permanent home across town on far west 42nd Street. JR Sullivan talks about the move.
It's always exhilirating to watch Paul Taylor's dancers going through their paces. The Paul Taylor Dance Company, even as it enters its fifty-fifth year, has that proverbial spring in their step. Propulsive dancing, and energetic movement is a signature of the PTDC style which now has 136 pieces in its repertory.
This year PTDC is celebrating its debut at a new home at Lincoln Center's David H. Koch Theatre where it will perform through April 1st, and the 50th anniversary of "Aureole." It was on the program along with "Mercuric Tidings" from 1982 and the New York premiere of "The Uncommitted" for their Gala on March 15th.
"Aureole" was Paul Taylor's first great success, and a kind of blueprint for all the fun he would have in dancing and dance making. Its simple and stark costumes, all in white, (by George Tacet) belie the complexity of the piece. Set to excerpts by George Frederic Handel, "Aureole" offers the male soloist, Michael Trusnovec on this occasion, making the difficult executions seem deceptively easy and playful.
By the way, it is part of Paul Taylor's modus of creation to make expert and complicated moves seem merely playful. In "Aureole" he laid the groundwork for elements intrisic to his work, enfolding the balletic and classical into a modern dance. "Aureole" also overflows with irrepresible joy.
Joining the dancers, Mr. Trusnovec, Amy Young, Michelle Fleet, Francisco Graciano, and Heater McGinley, for bows after the "Aureole" performance, were their counterparts from the original cast, which included Elizabeth Walton and of course Paul Taylor, who had chosen the dance as his final performance in 1974.
Paul Taylor's Mercuric Tidings has the dancers leaping languidly into minuets, to music by Franz Schubert excerpted from the first and second Symphonies.
In the opening segment of the commissioned "The Uncommitted," solo dancers are substituted, each appearing from the cast of eleven, almost miraculously out of a rushing crowd. That crowd twirls in elegantly to replace each other for their solos while the curtains billow behind them--could these be the winds of change? Partnering in "The Uncommitted" doesn't seem joyous or celebratory. Movements are sometimes almost feral, occassionally submissive, at times aggressive. At one point a pair of dancers wrestle nastily while the scene behind them devolves into a brawl.
It is a decidely beautiful work, created in honor of PTDC Manager from 1962-68 Charles C. Reinhart, who was also the Director of the American Dance Festival from 1968 to 2011.
For a schedule of the programs in PTDC's spring season, visit www.ptdc.org. Tickets are available in person at the David H. Koch box office.
In "Teresa's Ecstasy," written by Begonya Plaza at the Cherry Lane Theatre through April 1st, Carlotta's (Begonya Plaza) research into St Teresa of Avila turns into a spiritual quest. As is often the case with this kind of journey, she is lead to an unexpected self-discovery.
Carlotta is an author, nominally married to a Spanish artist, Andres, (Shawn Elliott). She is in Spain to explore the history of St Teresa for an article she is preparing for Becky's (Linda Larkin) magazine, Beyond Reason. The Saint is famous for her writings about her rapturous relationship to Jesus. "Oh right," Andres says. "The lusty saint."
En route to Avila, Carlotta stops in Barcelona to get "Andy" to sign the divorce papers he has steadfastly ignored.
The skeptical Andres denounces religion and religious fervor. Shawn Elliott's assured portrayal of the dogmatic and charming Andres is an excellent foil for Begonya Plaza's open-minded and inquisitive Carlotta. The tenderness between them is unaffected. Becky as Linda Larkin plays her is contemptuous and brash, challenging Andres's machismo.
Will Pomerantz (The Blue Flower, The Shape of Things) smooothly directs the outstanding cast in the world premiere of this truly first-rate drama. The sets by Adrian W.Jones are homey and expansive.
"Teresa's Ecstasy" is a captivating story of love and adventure. Click here for more information on the play.
The premise of the play is made all the odder still by script updates to Lerner's book contributed by Peter Parnell. Odder but still charming in its own loopy way.
Reset to 1974, with a bright psychedelic set by Christine Jones, "On A Clear Day..." is also enlivened by the presence, in addition to Harry Connick, Jr. as Dr. Mark Bruckner, of star discoveries, David Turner as his patient David Gamble and Jessie Mueller as Melinda Wells, David Gamble's most recent past life.
David stumbles into Dr. Bruckner's care after being inadvertently hypnotized, a trick the doctor performs during the class David goes to with his roommate Muriel (Sarah Stiles). It turns out that David is extremely susceptible to hypnosis.
David's sessions with Dr. Bruckner lead to the revelation that David was once Melinda Wells, an attractive and lively band singer from the '40s. When Dr. Bruckner meets her, he is smitten.
"The House of Ghostly Haunts," at Canal Park Playhouse on Tuesdays from March 27th to April 17th, is Cardone the Magician's macabre creation of the phantasmagorical and strange.
The show begins with trailers from classic horror films fromm the 1950s and ends with ten minutes of complete darkness.
Be prepared to be thrilled, entranced, and scared.
For more information on the program, visit www.canalparkplayhouse.com
In "Eternal Equinox," currently at 59E59 Theaters in a production brought over from the Grove Theater Center in California, through March 31st,the dramatic dwindles into the melodramatic.
The premise behind "Eternal Equinox" allows playwright Joyce Hokin Sachs to imagine a weekend encounter between George Mallory (Christian Pedersen),the Everest mountaineer, Duncan Grant (Michael Gabriel Goodfriend), the painter, set and costume designer, and Vanessa Bell (Hollis McCarthy), an artist in her own right, who was married to Clive Bell and sister to Virginia Woolf. Duncan Grant and Vanessa Bell were both prominent members of the Bloomsbury Set, an influential group of writers, artists, philosophers who all worked or lived near Bloomsbury, London. (See Wikipedia for more.)
While professing that "there are all kinds of love," as George tells Vanessa, Joyce Hokin Sachs paints an almost cloyingly romantic view of the decidely unconventional relationship between her and Duncan, her one-time lover. Although he fathered a child, Anjelica, with Vanessa and lived with her for most of their lives, Duncan Grant was thoroughly homosexual in his tastes and appetites. "Eternal Equinox" shows them to be cloyingly affectionate, with Vanessa possessive, jealous, and competitive in love, in seeming contradiction to the openness of their Bohemian lifestyle.
George Mallory and Duncan Grant had been lovers at one time. Mallory and Vanessa Bell shared a romantic encounter as well. Their friendship makes an interesting backdrop to the story in "Eternal Equinox." Unfortunately, despite the best efforts of the cast, the story quickly grows tiresome.
For a schedule of performances of "Eternal Equinox" please visit www.59e59.org.
Rich, powerful, charismatic and abusive, Daniel is an off-stage presence in "Assistance," at Playwrights Horizons through March 11. Daniel is unseen and unheard-- calling in to his minions from London and Tokyo.
Vince's (Lucas Near-Verbrugghe), Nick's (Michael Esper) and Nora's (Virginia Kull) reactions are the witness to his rants against their incompetence and grammatical failings. Meltdowns are legion as are firings.
Leslye Headland's paean to the working classes. Well to those enthrall to the great wealth and financial success of ogreish moguls.
Serving a petty tyrant is a choice for these young people. Jenny (Amy Rosoff) is thrilled at the chance to work more closely with Daniel, for instance. The hapless Heather (Sue Jean Kim), on the other hand, chooses her uncle's funeral over an assignment in Chicago, with seemingly dire consequences for her.
Bobby Steggert's Justin has a short but convincing stint on stage, demonstrating just how far around the bend the Daniels of this world can take their proteges.
The players in "Assistance" under Trip Cullman's deft direction are all splendid. In the surprise coda to "Assistance," Amy Rosoff exhibits outstanding and completely unexpected talents.
The assistants in "Assistance" might benefit from a workplace drug like the one in Kate Fodor's "Rx." (See commentary on "Rx.")
Visit www.playwrightshorizons.org for a schedule of performances.
Over at the glassworks, power also wrests in the master's hands.
In "Rutherford & Son," at The Mint Theater Company through April 8th, playwright Githa Sowerby captured the tone and cadence of a miserable rural life, both in John Rutherford's (Robert Hogan) home and his factory. He has sacrificed his children's happiness to respectability and financial success.
See video Rutherford & Son at the Mint Theater from Mint Theater Company on Vimeo.
It's easy to see why "Rutherford & Son" was a sensation when it had its premiere at London's Royal Court Theatre in 1912 and then again a few months later when it opened on Broadway. Githa Sowerby understood not only the mores of a small town but also the ebb and flow of business.
The fine cast under Jonathan Bank's sure-handed direction also understand the rhythms of this old-fashioned but very modern play. Sara Surrey particularly stands out as John Rutherford's embittered spinster daughter, Janet, and Eli James is exceptional as his thwarted and feckless son, John.
For more information and a schedule of performances, please visit www.minttheater.org.
Working it in a completely different way were the guitarists (and their ensembles) Doug Wamble and Nino Joselle in Jazz Meets Flamenco at JALC's Allen Room on February 24th and 25th, with two remarkable dancers, Jason Samuel Smith representing the jazz-tap side and Juan De Juan onboard to represent Flamenco.
See pictures from the show here.
Jazz at Lincoln Center invited the two guitarists to showcase their flamenco sensibilities. Doug Wamble rose to the occasion with a composition for reeds (John Ellis), bass (Eric Revis), drums (Rudy Royston) and most importantly tap (Jason Samuel Smith.) "The Traveler" is a song cycle, performed by Mr. Wamble and his ensemble, and punctuated by very fancy footwork by Mr. Smith.
The Flamenco side of the program, represented by the incredible and fierce Juan De Juan, dancing to the music performed by Mr. Joselle and his bassist (John Benitez) and percussionist (Horatio "El Negro" Hernandez) won the dance off despite Mr. Smith's accomplished performance. Juan De Juan accomplishes the seemingly impossible in his Flamenco interpretations.
The special treat here was watching Jason Samuel Smith and Juan De Juan together for the finale of the program.
For more information about Jazz At Lincoln Center programs, visit www.jalc.org.
The Flamenco Festival 2012 in New York City continues this month with, among other venues, performances at New York City. Visit www.nycitycenter.org for more information.
David Van Pelt as Martin and Sara Surrey as Janet. Photo © Richard Termine
