Tag: Play

The combination of a previously can’t-miss-whatever-they-do Fiasco Theater troupe with the 50th Anniversary year of the Classic Stage Company was a key reason for my purchasing a subscription this year.  Two Shakespeare classics were on stage this fall, As You Like It and now Twelfth Night.  Neither was good.

Twelfth Night is a gender bending comedy believed to have been written for a twelfth night’s entertainment to close the Christmas season.  A comedy, the play also supports musical interludes which would have been expected at that time.  I have seen other versions of this play, on Broadway with Mark Rylance in 2014 and in a two part off-off Broadway mash up by Bedlam.  Familiarity with the play helped me understand what was going here but it did not relieve me from my boredom.  A guy two seats down leaned forward towards the end of Act II, elbows on knees, face in hands, seemingly exasperated.  An elderly lady left early and looked so fragile that a cast member helped walk her to the exit.  It wasn’t just me.

The balance between comedy and drama here was off.  The comedic scenes were, while better, a little too improv for my tastes.  You could see and hear the cast sitting in the background laughing harder than the audience.  There are some nice singing voices in the mix but the songs had the effect of slowing the play down.  Clowning, musicality and cleverness got in the way of storytelling, not normally something I’d expect from this group. Their outstanding take on Cymbeline put Fiasco on the map in 2011.  This one’s not the choice to introduce yourself to this company.

www.classicstage.org

www.fiascotheater.com

theaterreviewsfrommyseat/asyoulikeit

Upon entering the theater, the US Open stadium tennis court is in full view.  A blue hardcourt playing surface.  The huge lighting fixture at the top.  Scoreboards on both sides.  And somehow, both the inner stadium wall and a large open sky.  Not a literal translation but theatrical and perfectly rendered for the play which follows.  I open the Playbill and see that the set designer is Tim Mackabee, who I just praised this past week for his outstanding work on Describe the Night.  I look forward to what he does next, he’s that good.

The Last Match takes place over the course of a semi-final men’s tennis game at the US Open.  Tim is the reigning American golden boy of tennis but having a slump year at age 30.  Sergei is the up and coming new Russian player.  A whole match ensues over ninety minutes.  The players mime the points and communicate their thoughts.  In between (and there is a lot of in between), there are flashbacks and asides involving both of their love interests.  Tim is married to ex-tennis pro, Mallory.  Sergei’s girlfriend, who eschews French fries for her figure, is Galinda.  Both ladies spend time in the player’s boxes during the match.

As fair disclosure, I am a tennis fan who attended the Australian Open last January.  So I probably have a natural affinity for this material.  Frankly, as described above, it is hard to imagine an exciting game of make believe tennis.  Improbably, that is exactly what happens.  Foot fault.  Line drive to one’s players head.  Aces and double faults.  Passing shots and emotions.  The zeal to devote one’s existence to a sport.  The support structure that is needed.  The hunger to get to the top ten.  The panic of aging and falling from the pinnacle.  The need to go to the diner for a grilled cheese and bacon sandwich while in NYC.  It’s all there.

An entertaining play that zips along with plenty to say, The Last Match is performed by a company of four actors who seem to naturally inhabit their characters.  At the performance I saw, Tim was played by understudy JD Taylor (Sundown, Yellow Moon).  He was excellent.  His nemesis, Sergei, embodied by Alex Mickiewicz (Long Days Journey Into Night), is the flashier role.  He’s the new bad boy with plenty of quips to go along with the thick accent.  He was also excellent and very funny.  This play was written by Anna Ziegler, best known for the West End’s Photograph 51 starring Nicole Kidman.  The Last Match is a nice example of a really good evening at the theater.

www.roundabouttheatre.org

theaterreviewsfrommyseat/describethenight

Titus McCall submitted his review for Who’s Holiday on the New York Theater Guide website.  He concluded:

Why was this written? Why was that done?
It doesn’t seem fittin’, ‘Cause this show’s no fun.
Boo-WHO.

I laughed out loud.  Then the New York Times weighed in with a more positive view:  “the show belongs to the evergreen subgenre of holiday offerings that proffer to dirty up Christmas while ultimately reveling in its spirit.”  Wow.  Despite being impressed by the word evergreen as an adjective for subgenre, I had to know.  Which review was right?

I attended Who’s Holiday to hear them play their pantookas.

I hoped it would make me laugh something Bazookas.

(Get It?   Bazooka Joe?)

If you thought that joke was lame, so is this show.

Cindy Lou Who, impregnated, now a trailer trash ho.

Despite the extraordinary presence of Lesli Margherita (Matilda, Dames At Sea, NYMF’s Matthew McConaughey vs. the Devil) as the older, cocktail swilling, cigarette smoking, drug taking Cindy … you get the picture.  On the plus side, the set was nearly perfect.  That’s not enough to recommend this underbaked comedy with its ill-advised, dreadfully dull poignancy at the end.  Boo Who indeed.  As far from evergreen as the metal trees in A Charlie Brown Christmas.

www.whosholiday.com

www.newyorktheatreguide.com

theaterreviewsfromyseat/NYMFmatthewmcconaughey

An ambitious play, Describe the Night has been written by Rajiv Joseph, the Pulitzer Prize finalist for Bengal Tiger at the Baghdad Zoo.  On Broadway in 2011, that play featured Robin Williams in the titular role.  A tiger haunts the streets of Baghdad searching for the meaning of life within the backdrop of the Iraq invasion, encountering both American and Iraqi soldiers.  Describe the Night also takes us to war, this time the 1920 Russian – Polish military conflict.  We begin this three act epic with a conversation between two soldiers.  One is making notes in his diary.  Sample entry:  describe the night.

Our diarist turns out to be a famous Soviet writer.  This play crisscrosses nine decades to tell its story, back and forth, between 1920 and 2010.  Based on historical people and events, Describe the Night is certainly about Russia, the NKVD (secret police) and subordination under the Stalinist regime.   It is also a multigenerational saga with that diary as a connecting thread.  A commentary on Russia in the 20th Century and also a mirror peering at Russia today.  What makes this play so compelling is the juxtaposition of serious, hard hitting history wrapped in elements of the mysterious.  Is it mystical, perhaps Russian folklore?  Is it fantasy?

Unique and brimming with themes, Describe the Night is excellent theater.  Given the current Russian investigation in Washington, Mr. Joseph forces us to face some very uncomfortable truths.  Or are they lies?  Who decides?  Even journalists are targets.  Sound familiar?  Adding to the timeliness of the material is superb writing.  The path is not chronological so all three acts come together in a wholly satisfying finale.

Directed by Giovanna Sardelli, Describe the Night is chock full of excellent scenes.  Vova is the climbing Soviet agent played by Max Gordon Moore (Indecent) in an intensely wrought, physical performance.  As Yevgenia, the woman in the center of the storm, Tina Benko (Julius Caesar) flipped between humor and pathos, grounding the story so the big themes were personalized and heartfelt.  Tim Mackabee (The Elephant Man with Bradley Cooper) somehow managed to create a set design that is sparse, depressing and utilitarian yet somehow magical, mysterious and even hopeful.  Describe the Night is an absorbing, surprising, creative and intelligent piece of theater.

www.atlantictheater.org

The New Group’s mission is to develop and produce powerful, contemporary theater that is adventurous, stimulating and most importantly “now.”  Seth Zvi Rosenfeld’s Downtown Race Riot seems to fit that bill as a commentary on our still prevalent racial tensions using a historical, period-specific incident.  The events are depicted through a day in the life of one Greenwich Village family in 1976.

Chloe Sevigny (Oscar nominee for Boys Don’t Cry) plays Mary Shannon, a mother with two teenage children.  She’s on drugs and disability.  Current thinking involves a bogus paint chip eating lawsuit involving her sixteen year old son.  Apparently there’s dough to score and a lawyer is coming over to help.  He happens to be a fan of cocaine.

Meanwhile, the white son and his black best friend (David Levy and Moise Morancy) are contemplating joining the race riot in Washington Square Park that afternoon.  The sister, who may or may not be a lesbian, more than flirts with the best friend.  Hamburgers are made, burned and not eaten.  None of this comes together in any sort of meaningful way.  A slice of life drama about a dysfunctional family on the day of a race riot.  There is a well-choreographed big scene at the end that was startling and intense.

Over the past ten years I have seen a number of New Group productions including The Jacksonians, Marie & Bruce, Sticks and Bones, Russian Transport and the musical Sweet Charity (Sutton Foster).  Most famously, this company developed the Tony Award winning Avenue Q.  Most of my experiences have been very positive.  This year, for the first time, I decided to buy a subscription for the season.  The first of four productions, Downtown Race Riot is a disappointment.  Up next, Jerry Springer, the Opera.

www.thenewgroup.org

As part of the 2017 Next Wave Festival, The Fountainhead arrives via Toneelgroep Amsterdam at the Brooklyn Academy of Music.  The company’s director, Ivo van Hove, was recently represented by two excellent Broadway revivals, A View From the Bridge and The Crucible.  So it’s really no surprise that the production here is super-conceptualized, visually arresting and well acted.  But the material is Ayn Rand.  Having never read her work, I was not completely prepared for the bloated hyperbole here rendered in Dutch with English supertitles.

The Fountainhead’s protagonist is Howard Roark, an individualistic young architect who designs modernist buildings.  He is unwilling to compromise on his art.  The architectural establishment is unwilling to accept innovation.  Mr. Roark is therefore presented as the ideal man and embodies Ms. Rand’s view that individualism is superior to collectivism.  The result is a four hour diatribe of mind-numbingly self-righteous speeches and repetitive musings with dollops of nudity, sex and drinking.

At the core of this watchable bore is ultimately an overwrought soap opera.  The woman who calculatingly sleeps around.  The newspaper people who make or break careers.  The not-so talented but more successful rival.  And our “hero,” as self-important as his brilliant buildings. Thrown into this theatrical blender is a mix of endless philosophical musings about everything from capitalism, rape, socialism, conformity and individualism.  From my seat, as an individual, I was happy when this relentlessly preachy story ended, unresolved and overlong.  Perhaps collectivism, and editing, are not entirely bad things.

www.bam.org

www.toneelgroepamsterdam.nl

Atrocious is not usually a word associated with J.M. Barrie’s Peter Pan.  In the hands of the off-Broadway troupe Bedlam however, atrocious is just one descriptor to sum up this incomprehensible, indulgent, occasionally lewd, often idiotic reimagining.  In this version, the company has developed a dual storyline.  One is a loose connection to Peter, Wendy and the lost boys of the original tale.  The other is Wendy having settled down years later, married with kids.  Six actors play all of these roles.  Confusion trumps clarity.  Boredom ensues.

Of course Wendy is mad that Peter never grew up and she settled for a bitter suburban lifestyle.  The premise is not necessarily a bad idea.  Packaged as a first draft inane college project does this exercise no favors.  Bedlam has had success in recent years reinterpreting classics such as Sense & Sensibility and Twelfth Night.  This Peter Pan, however, is leaden, amazingly dull and one off my least favorite theatrical experiences in a long, long time.  Perhaps if Captain Hook had the last laugh, I might have at least chuckled once.

www.bedlam.org