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 »
When was the last time you attended a stage play, of any variety, that fully utilized 23 spirited professional actors? Storm Theater Company gives us the opportunity to see this in an excellent production of The President, a madcap farce resurrected intact from olden days when large and varied casts were customary. As then, The President gives each supporting actor a moment of undivided focus, in concert with great comic performances by the principals. Read more »
I probably speak for most theater fans in saying I was excited when I read about Smash before its premiere on NBC in February. The idea of a weekly network series depicting the development of a new Broadway musical was irresistible. The fact that so many theater people -- both on and off camera -- were involved in the show added to the anticipation. Executive producers included Craig Zadan and Neil Meron who, among other things, have produced film versions of Broadway hits Chicago and Hairspray, along with television movie adaptations of The Music Man, Annie, and Gypsy. Original songs were written by the team of Marc Shaiman and Scott Wittman, who won the Tony award for their Hairspray score, and also wrote the fine score for last year's Catch Me If You Can. Michael Mayer (Spring Awakening and American Idiot) directed the pilot. And, while not a theater name, the legendary Steven Spielberg is one of the executive producers. Read more »
All serious theatrical works go through many stages on the road to a full-fledged production. Opening night audiences have it easy: They just sit back, watch, and listen. Prior to the first notes of the overture and that moment of “curtain up,” a production team has worked intensely hard, with many tryouts for audience response, presentations for backers, a myriad of rewrites and adjustments applied to the score, dialog, and blocking over many months (and, not uncommonly, a number of years). I kept this in mind while viewing the premiere of the first act of Coffee, the Musical, an engaging and tuneful work-in-progress presented this past February at the NYC Coffee and Tea Festival. Read more »
Avid fans of Broadway musicals love nothing more than a thrilling, exhilarating show, but we also realize that isn't going to be the case all that often. While we love it when a musical strives for and achieves brilliance, sometimes we know going in that a show is not going to redefine the genre. In those cases, we can often be content with an evening of good entertainment. We can still analyze what was good and what wasn't, but if the show ultimately works for you, it would have succeeded. It is the Broadway equivalent of a popular popcorn movie or a good summer beach read. That was the case when I saw Ghost, the new Broadway musical, adapted from the hugely successful 1990 movie that starred Patrick Swayze, Demi Moore, and Whoopi Goldberg. Read more »
Writing a prequel/sequel to Lorraine Hansberry's A Raisin in the Sun sounds like a chancy and potentially gimmicky proposition, bordering on infringing upon the merits of another author, but playwright Bruce Norris has cleared the inherent hurdles and written a masterpiece with Clybourne Park. Making its Broadway début at the Walter Kerr with a cast and production that do it every bit of justice, this is easily one of the greatest original plays to hit New York City in the last decade. Read more »
Despite solid performances from Linda Lavin and Dick Latessa, The Lyons is a lost cause before the curtain closes on the first act, and there's no improvement thereafter. A fumbling and confused script by Nicky Silver is the production's greatest weakness, but some forced and postured performances don't help matters. Read more »