Theater Review

Tom Stoppard’s Rock ‘N’ Roll: More than a Trip Down Memory Lane

rocknrollPlaying to full houses at the Duke of York’s Theatre in London, Tom Stoppard’s latest play, Rock ‘N’ Roll lays out a theory of art as well as a political story line. Basically the play suggests that art—in this case the music of classic rock ‘n’ roll—thrives on a deeper level in countries that censor it (like those behind the Iron Curtain prior to the fall of Soviet Communism).

Now, this is not a new vision; there was a good deal of talk in the 1970s and ‘80s about how literature, particularly poetry and fiction, held a much more sacred and significant place where it was censored. American poets envied their Russian peers, who lived in a place where a poetry performance might be a major cultural event, where people actually lined up to hear poets read their work and sometimes smuggled banned books across borders for friends.

Dogs at BAM

dogs.jpgAnticipation for Sarah Michelson’s DOGS at BAM ran high. Prior to a premiere, the British-born dancer/choreographer is passionately tight-lipped about her work. Shunning press releases and brochure blurbs, Michelson whips up a frenzy of curiosity that few artists enjoy. With a BAM debut added to the mix, a coveted prize for many “downtown” artists, the pre-opening frenzy reached a fever pitch of expectation -- perhaps unfair, perhaps cultivated –- but nearly impossible to fulfill.

The visual elements, designed by Michelson and Parker Lutz, who both danced in the work, were truly breathtaking.

Sex in the State Department: Foggy Bottom at The Abingdon

foggy.jpgA farce about the State Department in contemporary times could be just what we need, but James Armstrong’s Foggy Bottom only partially hits the spot. The acting is quite fine, and the direction by Rob Urbinati keeps it all moving at a lively pace. The premise is promising: a mid-level employee pretends to be his boss, Pat Simon, Assistant Secretary of State for European and Eurasian Affairs, in order to seduce immigrant women with the promise of green cards. Dan Cordle plays Dick, the lusty bureaucrat, staying after-hours so that he can lure sexy exotic women (all with one accent or another) into the empty office of his boss.

Act one is basically a series of sexual gags, some humorous, but most rather tasteless,

Old Tricks at the Chocolate Factory

oldtricksRed Metal Mailbox has created what at first appears to be a delightful confection of 1890s-style all-female vaudeville. Three talented performers dance, sing, pout, tell jokes, do tricks, and generally create the intimate atmosphere of a Parisian nightclub in the basement of an industrial building just on the edge of Long Island City. Standing outside on a warm spring night, one can see the buildings of Manhattan just across the East River. For a jaded Upper Westsider, it’s worth the trip to Queens.

Presented as part of the Chocolate Factory’s Visiting Artists Program, Old Tricks is the creation of Sarah Maxfield, Rachel Tiemann, Sarah Gancher, and Ali Harmer. Red Metal Mailbox’s mission is to create “investigative performance by linking original text with a highly physical aesthetic.”

Peer Gynt: Directed by Robert Wilson - BAM

PeerGynt.jpgIs Robert Wilson a genius? The answer, I think, is yes. His latest directorial work, Peer Gynt, a coproduction of the National Theatre of Bergen and the Norwegian Theatre of Oslo at BAM, reveals once again how he can bring alive on stage a mesmerizing visual world, reinvent it, ensnare us in it, and take a long time to let it go. His method succeeds particularly well in this early Ibsen work, a strange folktale-like enactment of one man’s life of fierce and often futile adventure.

Ibsen completed Peer Gynt in 1867, and was pleased with what he saw as a play in verse not meant for the stage; its fantastic elements (scenes with trolls and other mythical

A Case of Violent Repression

alba.jpgEarly in the Spanish Civil War, Federico Garcia Lorca was executed by the Fascists. He was only 38 years old. A great poet was lost. The Lincoln Center production of Bernarda Alba is a reinterpretation of Lorca’s The House of Bernarda Alba, written in 1936 and initially performed shortly after his death. Lorca’s play presents a tyrannical Spanish mother and her five sex-starved daughters in the context of backward village values in traditional Spanish culture. As a boy, Lorca had spent summers in such a village, watching the chaperoned and cloistered local females from a distance. While he was working on the play, it was described in a newspaper as a “drama of Andalusian sexuality,” and Lorca noted, at the front of his manuscript copy, that the work should resemble “a photographic document.”

Seeing Red

Seeing RedFor Carrie Ahern, red is a very scary color. Inspired by Margaret Atwood's The Handmaid's Tale, Ahern's Red was a rich tapestry of densely layered images of pent-up ferocity. The piece reminded me of a section in another great literary work, Jane Eyre, in which Jane is locked in a terrifying red room as punishment. As in Bronte's imagination, for Ahern red represents oppression, aggression, and fear, and possesses power to overwhelm and consume.

As the piece opened, one could hear only an eerie swishing sound, which was generated by the odd, sliding gait of ten pairs of feet approaching us from behind. In near dark, women in long, multi-textured dresses, with blacked-out eyes, marched monk-like to the stage.

Pennies for Your Thoughts

JuliSara Juli: The Money Conversation, P.S. 122 Most performances that claim to be "conversations" are actually one-sided speeches that at best make you think in response. Sara Juli's The Money Conversation was not like most performances; the conversation was real, and so was the money. For the performance, Juli drained her savings account of its $5000 contents, and though she did make good on the marketing premise that she would give away all of her money, it was hardly without strings. Members of the audience were asked to remove wads of cash from Juil's pants pockets, from between her toes, and even from her underwear. There were times when the cash was simply handed off to a lucky viewer, but after the gift, Juli gave each a semi-private performance (part lap-dance/part hug), such that the slightly richer audience member could not help but acknowledge her as a real person, with real money that, if taken, would take and cause real loss.

The Little Dog Laughed - Second Stage Theatre, NYC

Little DogThe buzz is out that the Second Stage production of Douglas Carter Beane’s latest play The Little Dog Laughed is probably going to move to a larger theatre. And with good reason. This work is extremely witty, entertaining, and relevant to the present moment in American culture. Beane says it's about “the last taboo” -- being gay in Hollywood -- and it certainly is about that. But actually gayness could almost be a metaphor for any socially unacceptable behavior, attitude, existence even in an increasingly right wing and paranoid American culture. Are not secret wire-tapping and internet use monitoring by government agencies just the latest examples of how un-private our private lives are becoming? We’re all gay now. Or potentially so.

Major Bang - The Foundry Theater

Bag SignHalfway through The Foundry Theater's Major Bang or: How I Learned to Stop Worrying and Love the Dirty Bomb, the two accomplished performers (who had already played numerous roles in the magic-trick-laden exploration of fatherhood, the politics of boy scouts, and the war on terror) stopped the show. Maggie Hoffman plugged in a vacuum and loudly collected the shattered remains of a light bulb that had exploded just moments before in Steve Cuiffo's hand, while Cuiffo gave the audience a "Lec-Dem for Critics" entitled "How I Learned to Stop Worrying and Love This Play," which encouraged the audience to relax and suspend their disbelief, noting that this play was at a particular disadvantage because its central topic – bombing – doesn't fit on stage.