Putting together a new musical is no easy task, and every season we witness shows that demonstrate the difficulties involved. Yet, even when a musical is flawed, it still can have moments that make it worthwhile and leaves one wishing the entire show could have measured up to its best scenes. I was reminded of all this while watching Chaplin, the uneven new musical based on the life of film star Charlie Chaplin, and the first new musical to open this season. Read more »
If you are unfamiliar with Anton Chekhov's seldom-produced Russian twist on Hamlet, Classic Stage Company is offering a stunning opportunity to cover that gaping hole with one of their best works in recent years. The play Ivanov is a stellar piece of theater, and this production gives full rein to its high humor and devastating tragedy as it rides a very intense three hours of poetic drama.
2012 has turned out to be an inspired year for plays, and Ivanov will only make it that much more difficult for voters from the Obies & Lortels to pick the appropriate winners, as the cast, design crew, and director from this melancholy celebration of life all present very worthy contenders.
It's Ethan Hawke's face that is on all the ads, and his name that will likely draw many audience members; while this is an ensemble production, Hawke is deserving of the attention. Read more »
I can't in good conscience write a review for Killers: A NIGHTMARE Haunted House. It was too vile, too disgustingly demented, and I had the unique pleasure of working there for two wonderfully horror-fueled nights. So I'm writing this postmortem instead.
This year's Nightmare Haunted House was without debate my favorite out of the four I've been fortunate enough to witness. It was more fun than one should feel comfortable having in a room full of the likes of Jack the Ripper [Joe Conway, left], Ed Gein, Lizzie Borden [Nana Valtiel, next down], Ted Bundy, John Wayne Gacy [Scott Kozel, bottom], and Jeffrey Dahmer, striking that wickedly perfect blend of horror and theater that Nightmare does so well. Read more »
I was a real fan of the 1985 Broadway production of The Mystery of Edwin Drood and have been eagerly looking forward to the Roundabout revival. For the most part, it did not disappoint.
Drood, of course, is based on Charles Dickens's final, unfinished novel. Read more »
Giant, the new musical based on the Edna Ferber novel and now playing at the Public Theater, is a major achievement. No, it is not perfect, and it probably won't please everyone. There are no show-stopping production numbers that we are so used to in most musicals. However, I found its ambitious attempt to tell a sprawling, epic story -- one that encompasses two generations over twenty-five years and deals with themes ranging from family to racism to loving the Texas land to an evolving America -- to be wonderfully fulfilling. Read more »
Verdict by Agatha Christie
Directed by Noel MacDuffie
The Heights Players
Weekends through November 18, 2012
Since 1957 the Heights Players in Brooklyn Heights have continually presented quality community theater, and their latest offering maintains the high standard theater-goers have come to expect from this venerable company. Verdict is a curio from British mystery writer Agatha Christie, famous for her whodunit novels, stage adaptations of those novels, and original plays (the most famous of which is Witness for the Prosecution).Verdict, written solely for the stage, is a psychological living room play in which a murder does occur, but regarding the perpetrator's identity there is nothing to figure out: the murderer is revealed bluntly and in no uncertain terms. The meat of the matter comes from the complications that follow that revelation. Read more »
Like the bloodstained tooth of a feral hound, Who's Afraid of Virginia Woolf? glistens with primal and terrifying beauty. Arguably one of best plays written, from one of America's greatest playwrights, Edward Albee's masterpiece is given its gruesome due in the Steppenwolf revival currently running at The Booth.
Tracy Letts (author of the Pulitzer Prize-winning August: Osage County) gives a well-paced performance as George, starting with a ridged, almost stilted quality that gradually loosens with the liquor, yet never completely exposing his inner workings from behind the bulwarks of the impenetrable and calculating war machine that is his nature. Read more »
Something is in the water on Barrow Street and when David Cromer drinks it, phenomenal theater happens. Tribes opened on March 4 this year, but shows no signs of aging. If its presence has escaped your awareness up to this point, as it had for this reviewer, then you have a treat in store for you. This is one of those ever-so-rare, all-around powerful pieces where a stellar cast, brilliant directing, commanding script, and beautiful design all work together to make for a theatrical experience that is likely to stay with you for years to come, continuing to outshine more trivial diversions. Read more »
All About Meat (The Garcias) is by turns hilarious, over-the-top irreverent, grotesque, and exasperating -- and it has uniformly fine performances by a relentlessly spirited cast. Writer/director/player Michelangelo Alasá might be said to be attempting to meld the style of Pedro Almodovar with that of John Waters (with a good helping of vaudeville slapstick). First and foremost, this is a sex comedy about a family of Cuban origin, the wealthy Garcias, whose chorizo factory in New Jersey is the largest in the world.
At the pork-sausage-making family's helm is matriarch Dolores, who is dramatic, emotional, knifing, and manipulative, and whose thick Spanish accent seems at times to require subtitles when she is emoting (and she hardly ceases her emoting). Read more »
Ironically titled Grace, the new play at the Cort is more about those fallen and falling from it than experiencing it in the time that we are given to spend with them. Good performances coupled with a passable script and gimmicky directorial choices make for a sufficient theatrical experience that could possibly translate better to film.
Sitting in the theater and looking up at the stage, it is difficult to say if this production’s flaws are in director Dexter Bullard’s interpretation of the script or inherent in the text itself. The argument over the existence or non-existence of God chases its own tail, a quality which is only exhausted by an incessantly rotating set, which moves at a creeping speed in alternating directions. This device is tacked on to the occasional scene overlap and staged rewind of physical action, which begin with a bang at the top of the piece and then peter out as an ill-used contrivance which works more to confuse and complicate an otherwise simple story and concept. Read more »
By Alexander Dinelaris
Directed by Elizabeth Bove
Players Club, Royal Theater
August 2-5, 2012
Elisabeth Bove is a fine actor, as abundantly evident by the three plays in which she was featured and which I have reviewed on this site. Her portrayal of Ms. Venable in Suddenly Last Summer was particularly outstanding. She also appeared in a rollicking production of Larry Shue's venerable farce, The Foreigner, which was ingeniously directed by Noel MacDuffie. In Still Life, the tables have turned: Ms. Bove proves herself an excellent director and Noel MacDuffie, as a featured player, shows himself to be a skillful actor. Read more »
Anyone of the mindset that Harvey is a creaky, old piece of theater that should be happily left behind in a bygone era when caricatures and stiff, unnatural dialog ruled the American boards need go no further than the current revival at Studio 54 to find irrefutable proof for this argument. Given a push into the theatrical grave that it didn't need by some dreadful directing, this piece was dead on arrival despite the concerted efforts of some good actors. Read more »
Dedicated fans of the great, late Judy Garland are likely to a feel a thrill at seeing their ill-fated idol briefly brought back to life in End of the Rainbow. Tracie Bennett blossoms as the Judy who is unknowingly living the last months of her life while Michael Cumpsty makes for a sympathetic complement to her floating flourish, but they are the only two flowers to hold their color in this otherwise wilting arrangement.
Bennett enters the stage as the undisputed Judy Garland, unconcerned with hitting the marks of an impersonation but rather focused on evading the jaws of addiction and self-destruction that will eventually consume her. She moves naturally, breathing Judy's breath, moving Judy's body, bouncing with the compulsive energy of a performer that finds it near impossible to allow herself to be "off." Read more »
In a theater season dominated by musicals adapted from movies, it is nice to see an original new musical, but originality alone is no guarantee of a fully realized and satisfying entertainment. February House, the new musical opening at the Public Theater, is indeed original. It has its assets, including intelligence and an impressive score, but it is also uneven. While the musical has moments that are close to magical, it ultimately left me wishing it had delivered more than it did. Read more »
Anyone looking to witness a professional production of George Bernard Shaw's challenging Man and Superman that executes the obstacles that lay before it in a steady and effective way should see this current production at The Irish Repertory Theatre. With few flaws outside those arguably imbedded in the text itself, Mr. Shaw is given a fair opportunity to openly speak his mind. Read more »