Theater Review

Yawning at Uhry

driving-miss-daisyDriving Miss Daisy
Golden Theatre, NYC
Through January 29, 2011

When a play starring Vanessa Redgrave, James Earl Jones, and Boyd Gaines somehow still manages to be boring, then it seems fairly clear that the actors are not to blame; such is case with this current revival of Driving Miss Daisy.

James Earl Jones gives a vibrant performance, portraying a man with an unflaggingly positive nature and an outward joy that masks the many less-happy conflicts that must be stirring beneath the surface. Read more »

Midday Ticks

noon-divide-playNoon Divide (Partage de Midi) by Paul Claudel
Storm Theater and Blackfriars Repertory Theatre

Noon Divide, an intense morality/passion play by French poet, dramatist, and diplomat Paul Claudel (1868-1955), is excellent serious theater. Like ancient Greek drama, it deals with what makes people tick, what drives them on, and what propels them to undo themselves. And also, like Greek drama, a great deal of the action that motivates the characters is offstage, and the audience observes how they live with (and adapt to) the actions that occur prior to the play’s start and between the acts. Read more »

Mysterious Flowers

venus-flytrap-playVenus Flytrap: a Femme Noir Mystery
Written by Anthony Dodge
Directed by Marcia Milgrom Dodge
The Active Theater, NYC
Through November 14, 2010

It is New York in 1943. Most men are in uniform and women are doing many a "man's job." Thus we find "Butch" Diamond (Xanthe Elbrick), called upon to be a private dick for the deviate underclass. This is the world of Venus Flytrap. What ensues is a prime example of hilarious and inventive burlesque, parody, satire, and farce (admixed with a healthy helping of absurdism). At the same time, the play honors the noir idiom, giving the show levels of richness beyond its comedic antics.

This send-up of noir goes where no man has gone before. Butch, as she calls herself, an avowed lesbian who is not really all that butch, draws her clients from the flotsam and jetsam of Manhattan. Her primary client of the evening is Tom Blackmer (Jose Luaces), a dramatically effeminate young man who shows up in uniform shortly after he is dishonorably discharged from the Marines. Read more »

An Evening of Liquored-Up Monologues

boozy_kelly

Boo(zy): An Evening of Spirits and Storytelling
Bohemian Archaeology Productions, NYC

The art of the live storytelling monologue -- comic, dramatic, or otherwise -- has a long and mostly forgotten tradition: one of Ruth Draper, Anna Russell, Robert Benchley, and long before in Vaudeville. It survives in various permutations of contemporary stand-up. The basic and unembellished version recently received a lively resuscitation with Boo(zy) at the DR2 Theater in two pre-Halloween (the "boo" of the title) performances (October 29 and 30). Read more »

Don't Bogart That Number

refer-madness-playReefer Madness, the Musical
Music by Dan Studney, Lyrics by Kevin Murphy
Book by Kevin Murphy & Dan Studney
At the Gallery Players, NYC
Through November 14, 2010

On October 7, 2001, Reefer Madness, the Musical opened its original short three-week New York run at the Variety Arts Theater. Given the date, so soon after 9/11, New York might not have been ready for "fun" theater as fires continued burning downtown. Ben Brantley in The New York Times wrote that "at least one extreme form of the ironic arts -- its flashiest and silliest incarnation, known as camp -- is ready for its last rites." Read more »

Green Bay on Broadway

lombardi-playLombardi
Circle in the Square Theatre, NYC

Anyone who remembers high school cliques will undoubtedly agree that football and theater are not a natural match. Lombardi, a play about Green Bay's legendary savior Vincent Lombardi, does nothing to reconcile these differences of taste. If you are a football fan, particularly one who roots for the Packers, then this play may reach you; if you’re not, then it probably won't.

There is no natural law forbidding a play about a famous football coach from being theatrical, but this one is so devoid of dramatic tension and conflict that for there to be any drama to partake in, it requires an audience independently invested in the outcome of games to provide their own stakes. Read more »

Silly, Silly American History

bloody-jacksonBloody, Bloody Andrew Jackson
Bernard Jacobs Theatre, NYC

A biography of President Andrew Jackson set to Emo music and converted into a Broadway musical may sound like a random joke one might hear on Family Guy, but Bloody, Bloody Andrew Jackson makes it a reality to be reckoned with. Fresh from its Off-Broadway run at The Public, this new musical offers audiences something original through its bizarre blend of subject, genre and style. Read more »

Half-Mass

critical-mass-playCritical Mass
The Lion Theater at Theater Row, NYC
Through November 7, 2010

Imagine this: You arrive at the Lion Theater for a performance of Critical Mass, just as intermission is ending. Frustrated and annoyed with yourself for being late, you seat yourself as the second act commences. For the most part, you truly enjoy it -- and so you mentally kick yourself for missing the first act. The reality: If you had been on time, you may have experienced a frustration and annoyance equaling or surpassing that of having been late. Read more »

UPS delivers packages…

nightmare-nurseNightmare: Superstitions

…or so we were told by a frail and disturbed inmate, bleeding from her rear through a filthy hospital gown, intently whispering to our group as we waited to enter Nightmare: Superstition. This year’s theme is focused on superstitions and the fears that feed them, setting the haunted house in Bloomingdale's Lunatic Asylum. Visitors are instructed to follow the requests of the residents they encounter or suffer the consequences.

Nightmare: Superstition employs a wide variety of tricks and techniques to put its guests on edge, toying with four of the five senses, leaving only your nose free from drawing in the terror. Avoiding some of the problems from last year's manifestation, this creep show relies less on confrontational, in-your-face ghouls and more on ingenuity and craft. Creator/Artistic director Timothy Haskell and his creative team celebrate the limitations of this chosen theme, mining it for all its potential horrors. Read more »

Waiting for This Life to be Over

life-theater-photoA Life in the Theatre
Written by David Mamet
Gerald Schoenfeld Theatre, NYC
Through January 2, 2011

Someone out there must be determined to have a new Mamet revival on Broadway every season. With this current revival of A Life in the Theatre, it appears that they are scratching the bottom of Mamet's literary barrel. In the end, neither Patrick Stewart’s ample skills as an actor nor Neil Pepe's able direction can put any real meat on this half-baked sketch of a play. Read more »

Gimme Some Leg Action

legs-and-all-playLegs and All

Legs and All provides the audience with a disarming and engaging hour of nearly wordless pantomime. Current theatergoers may indeed find it refreshing to be comfortably and thoroughly entertained as a whimsical boy/girl saga unfolds, conveying all that needs to be known without the often shrill and histrionic chatter of "the stage." The whole undertaking is silently played with a child-like charm and equally child-like intensity that could melt the heart of even the most hardened, cynical, world-weary audience (AKA New Yorkers).

The players and co-creators of this physical comedy are Summer Shapiro and Peter Musante. Both are highly skilled in the broad and subtly humorous ways of the face and body and, more important, have real presence. Read more »

Broadway Stands Still

time-stands-still-playTime Stands Still
Cort Theater, NYC

In a theatrical world weighted down by revivals, it is always refreshing to see an original play go into a Broadway house, but discouraging when the new ends up feeling much like the old. Donald Margulies's Time Stands Still is one of those plays: it is a new work, it is a fairly solid production with a passable cast and it ultimately fails to leave any lasting marks.

Margulies seems to be pushing for something deeper than his play is able to wrap itself around. Read more »

Every Picture Tells A Story

larry-kroneLarry Krone (with Janet Kennedy)
Picture of Dorian Gray
Smack Mellon
October 7, 2010

Performance artists usually fall into one of two groups: those who eschew traditional tropes and practices of theater, like Matthew Barney and Ann Liv Young, and those who embrace their theatrical-hybrid past. Larry Krone falls into the second category, having evolved from a highly-skilled sculptor/draughtsman/installation artist into, in his words, “artist/entertainer.” In his most recent piece at Smack Mellon, Picture of Dorian Gray, Krone showed no signs of wanting to switch camps, giving the audience its full measure of both art and entertainment; with his attention to detail in handmade costumes and props he doesn’t just embrace theater, he gives it a huge bear hug and sloppy wet kiss. Read more »

You've Got Hate Mail

hate-mailA comedy solely dramatized from emails and text messages? So the promotional materials claimed. Would I be looking at computer screen projections for an hour and a half with no intermission? Or perhaps a long comic PowerPoint presentation? When the house lights dimmed and the stage lights went up, I was relieved see no screen upon which to project anything, as five live actors seated themselves in front of laptops neatly spaced out on The Triad's narrow stage.

What unfolded was a hilarious, riotous, and over-the-top evening's presentation of a meticulously crafted bedroom farce sans bedroom (or any "room," for that matter). The story was played out by the five actors, speaking as they email and text, all seated for the duration. Read more »

Hellman's Hungry Foxes

the_little_foxes_3Upfront confession: I've never particularly cared for Lillian Hellman's plays. To me they are unsubtle, cruel, obvious, and -- worst of all -- moralistic. That said, the New York Theatre Workshop production of The Little Foxes, directed by Ivo van Hove, does possess the merit of stripping the text down to its essence. We see, hear, feel the deep commitment of the characters to their fiercely hungry greed. From the moment they stride on stage, they take the space. The three Hubbard siblings -- Ben, Oscar, and Regina -- are the little foxes grown up, fighting for money and power, and licking their chops over imagined riches. There is no sub-text. Read more »

Syndicate content