Monday, June 25, 2012

Theater: New Shows (June 25-July 1)


The two strongest festivals in town make their entrances this week, just what you need in the swelter of a New York summer. My picks are below. But somehow, the most “fest-like” of the summer's shows stands apart from the circuses: A Thick Description of Harry Smith (Volume I). It reworks old-timey folk songs to reveal the strange, secret face of America! 

where: Second Stage
first night: Wednesday, June 27
Portentously set on 11/21/63 (spoiler: JFK gets assassinated), it follows a sweet little romance between a Vietnam-bound Marine and a plain-looking coffeeshop waitress. Joe Mantello directs & he's usually worth your while. Alternatively, it's worth digging up the 1991 indie film that this musical is based on. 

where: The New Ohio Theater
first night: Wednesday, June 27
Hands down, Gotham's best festival―guaranteed to blow your mind. Personally, I want to see Flying Snakes in 3D, an attempt to create an experimental play out of material more suitable for a summer multiplex. But maybe an adaptation of a 1911 novel/spaghetti western is more your thing. Or a Southern Gothic by Bekah Brunstetter.

where: The Culture Project
first night: Thursday, June 28
A sort of psychedelic radio-play biodrama about Harry Smith, a mid-20th-century free thinker (a beatnik, in the period idiom). He edited the seminal Anthology of American Folk Music, which is almost a mystical portal into our musical inheritence. This a developmental workshop, so watch with an eye towards what the show might become, not what it is.

where: Lower East Side
first night: Friday, June 29
A madcap series of hit-and-run works, this midsummer festival is what the Fringe wishes it were. The Living Theater, keeping the countercultural spirit alive, makes a strong showing with work about the Weather Underground and another about the suffragette movement. But if political theater makes you squeemish, try a Gospel of St. Matthew or a folk-opera about the Titanic.

Last chance!
4000 Miles
where: Lincoln Center's Newhouse Theater

As You Like It
where: The Public's Delacorte Theater

I Am a Tree
where: Theater at St. Clement's

Democracy
where: The Brick Theater

Jesus Christ Superstar
where: Neil Simon Theater

Man and Superman
where: Irish Repertory Theater

More of Our Parts
where: Theater Row

Murder in the First
where: 59E59

Sovereign
where: The Secret Theater

Space//Space
where: Collapsable Hole

Storefront Church
where: Atlantic Theater

The Hunchback Variations
where: 59E59

The Lathe of Heaven
where: 3LD Arts & Technology

The Lyons
where: Cort Theater

These Seven Sicknesses
where: The Flea Theater

This Is Fiction
where: Cherry Lane Theater

Tiny Dynamite
where: 59E59

Monday, June 11, 2012

Theater: New Shows (June 12-18)


Two shows have my ticket this week. One's Sovereign, the third part of a sci-fi trilogy. The first two parts were choice dramas that managed to be both B-movie fun and sharply intelligent theater. The other is The Bad and the Better. Despite the spaghetti western title, it's actually a modern noir. A teaser clip suggests a French New Wave vibe.

where: Theater Row
first night: Tuesday, June 12
The parents of a onetime math prodigy are missing, which leads a social worker to uncover the truth behind the wunderkind's teenaged crack-up. Despite the tease of higher math, Monarch sounds like one soppy drama.

where: Playwrights Horizons
first night: Thursday, June 14
TB&TB sees the Amoralists, a mangy bunch of downtowners, ditch the corny domestic melodrama that they've made their reps on. Instead, a monster-sized cast evoke a film-noir cityscape of corrupt pols, anarchist cells, heavy-truncheoned police, and surly bartenders: just the setting for a pair of brothers to stage their showdown.

where: The Secret Theater
first night: Thursday, June 14
The final part of a crackerjack sci-fi trilogy, a sort of War of the Worlds by way of Ibsen―and even more fun than it sounds! High points of the first two parts have included a homosexual, interspecies romance and a nine-foot fiberglass bee's leg. Part 3 has the rebellion's leader, once a surly teen, try her brother as a collaborator. I'm probably more excited for this show than any other play this summer.

where: Cherry Lane Studio
first night: Tuesday, June 12
A young writer, about to publish her first novel, returns to warn her family it's based on them. That scenario sounds over-familiar, which doesn't inspire confidence.


Last chance!
The Bad Boys
where: Second Stage Uptown

The Caretaker
where: BAM Harvey Theater

Don't Dress for Dinner
where: American Airlines Theater

February House
where: The Public Theater

The Golden Veil
where: The Kitchen

Luther
where: HERE Arts Center

Rangoon
where: Theater Row

Title and Deed
where: Signature Theater

Venus in Fur
where: Lyceum Theater

Monday, June 4, 2012

Theater: New Shows (June 5-11)


No longer writing this column for a website, I don't have to recommend just one play. And frankly, I'm looking forward to half of this week's debuts! Two classics get remounted: a traditional (probably) As You Like It in Central Park and an Uncle Vanya in modern vernacular. These Seven Sicknesses is a myth cycle worth the 5+-hours time; I saw it in January, & I'll see it again. To balance these, I'll catch the forward-looking Space//Space, an avant-garde comedy set in deep space! And if I have any evenings left over, I'll visit 3C, by one of my favorite young playwrights, David Adjmi.

where:  Delacorte Theater
first night:  Tuesday, June 5
Celebrate this NYC institution's 50th anniversary by heading to the Forest of Arden. As Rosalind, Lily Rabe continues to stake her claim as a great Shakespearean, after her subtle turn as Portia in summer 2010. Oliver Platt plays the Fool, Stephen Spinella gets the “All the world's a stage” speech, and Daniel Sullivan directs, presumably in his typical low-key manner.

where:  Rattlestick Playwrights Theater
first night:  Wednesday, June 6
A pastiche of Three's Company―seriously. But David Adjmi also wrote Elective Affinities, a stunning and dense monologue about art, existence, and (obliquely) the War on Terror that may've been the best play of the '11-'12 season. So expect less farce and more absurdism. Plus, the cast looks great, with the intriguing Hannah Cabell in the, uh, “Janet” role.

where:  The Flea Theater
first night:  Wednesday, June 6
The Flea remounts an astonishing evening of theater. This five-hour work adapts the complete works of Sophocles, transforming them into a cunning, often hilarious cycle on Oedipus and Troy. Dinner's included with the ticket, served at the first intermish. I recommend TSS unreservedly.

where:  59E59
first night:  Thursday, June 7
A small British play that made a big noise in its original production a decade ago. It's a three-hander, a bittersweet love triangle, about how lives can be altered by a small, random event.

where:  Soho Rep
first night:  Thursday, June 7
One of the most anticipated shows of the summer, this take on Chekhov has been couched in a contemporary idiom. The heat comes partly from collaborators Annie Baker (adaptor) and Sam Gold (director), whose Circle Mirror Transformation and The Aliens were two of the most memorable shows in the last few years. But it's also because of a stupendous cast that includes Maria Dizzia (In the Next Room), one of the most gutsy actresses around.

where:  The Wild Project
first night:  Friday, June 8
A version of the Bad Seed trope, as a child does some very naughty things. Playwright Eliza Clark makes her rent by writing for The Killing, a smart TV show about murder, so she should know from evil. She also describes her script as a “sci-fi play” set in an “alternate present.”

where:  Collapsable Hole
first night:  Friday, June 8
Subversive science-fiction from Banana Bag & Bodice, a Brooklyn troupe that pushes the adjective “experimental” in bold directions. In this oddity, two brothers get launched into deep space; one swaps genders, the other gets existential. A claustrophobic absurdity with futuristic SFX and mod projections. I can't wait!

where:  The Beacon Theater, CBS, and online
first night:  Sunday, June 10
Neil Patrick Harris returns to MC; that may be enough for you to enjoy Broadway's night of plaudits. I'm bored by awards ceremonies, however, so I'll sit this one out.

Monday, May 14, 2012

Shakespeare notebook: As You Like It


Elisabeth Ahrens, center, lets her hair down as Rosalind
in the all-female Queen's Company's As You Like It
As You Like It
The Queen's Company at Walkerspace
written by William Shakespeare
directed by Rebecca Patterson

A pair of stumps and a tree in silhouette could set the stage for half a dozen of Shakespeare's plays. So it's the action—and not an elaborate, conceptual design—that defines Rebecca Patterson's all-female production of As You Like It. Each time someone leaves the dark, paranoid court for the Forest of Arden, their violent impulses dissolve. The constant stream of converts lends a harmonious atmosphere to the sylvan utopia of bumpkins and exiles. Folks have time to kill in this forest, and they spend it debating the nature of the world while noting the process of time. Patterson has edited the script, minimizing its raucous clowning and cutting a difficult, equivocal hunting scene. Her stripped approach suits AYLI well, bringing out its philosophical spirit as well as a communal theme.

Patterson balances her abstract design with a realistic style of performance. Her actors speak the verse as dialogue, not poetry, which stifles any impulse to overact. As Rosalind, Elisabeth Ahrens delights in the ardor of her partner Orlando but can't help teasing him for his exuberance. Opposite her, Virginia Baeta is so passionate about love that it's no surprise he doesn't see his paramour is right there disguised as a boy. Unfortunately, the duo don't have enough chemistry to kindle their love-play into flames. As for the cast as a whole, they play off each other comfortably, and their enthusiasm for playing Shakespeare—and not just the female roles—makes up for any rough skill. Rather than overplaying their parts, they let the dialogue enhance their simple characterizations. Just as the set could serve for Shakespearean dramas, the company could easily mount a full repertory of classic English comedies.

No surprise, then, that the one major flaw in AYLI involves specificity. Patterson and designer Anna Licavita costume the court as if it were the corrupt government in a Reagan-era banana dictatorship. Like most attempts to reset Shakespeare's plays in another time and place, '80s Latin America fits uncomfortably around this play. The Miami Vice outfits, floofy cupcake nighties, and aviator sunglasses are funny but add nothing that the actors and script haven't already shown us.

Much better are beats in the second half when the action pauses for characters to rock out to '80s pop music. The Queen's Company loves using this entertaining, idiosyncratic device to express passionate, inexpressible moments like “love at first sight.” The quirky joy of these moments epitomizes the company's approach to their mission. The company casts only actresses in classic plays, but a political agenda is subtextual and secondary. Their motivation, rather, seems to be more artistic: why shouldn't women play these great roles? The programming sticks to comedies, by Shakespeare and others, plays which rarely depict sexual activity except in the most abstract way. That fact, plus the tropes of disguise and rebellion against parents, the exceptional fake beards, and the earnest cheese of those musical interludes all give their work the undertone of a romantic fantasy enacted by girls at a pajama party.

Monday, March 19, 2012

Theater: New Shows (March 20-26)

 Clybourne Park is much better than this photo would imply
photo credit: Joan Marcus
 
Ironically, I missed last week's post because I had to prep for vacation―paid work and parenting trumped blogging―but now that I'm away on holiday, I have time to look at what's new! Mid-March has lined some fun new shows ups, including the Broadway revival of Clybourne Park. My Pick of the Week is a radical experiment so faithful to the spirit of David Foster Wallace, its title has parenthetical digressions.


Clybourne Park
where: Walter Kerr Theater
first night: Friday, March 23
The best American drama of the last five years finally moves to Broadway, with its original New York cast reprising their roles. It's savage and smart in all the fun ways that you wish every show could be. Act 1 shows Truman-era neighbors fret over the sale of one home to a black family; act 2 sees a white couple buy the same house, auguring a wave of 21C gentrification.

Elephant Room
where: St. Ann's Warehouse
first night: Thursday, March 22
A trio of performers play low-rent illusionists in a slapstick perf-art piece about the magic of theater. According to the press release, ER "mixes the glory of a Styx reunion tour with the transcendental power of a 200-year-old Zuni shaman and a dash of trailer park ennui.” Not sure what that means but it's worth an evening to find out!

Li'l Abner
where: Theater Row
first night: Tuesday, March 20
Half a century before Spidey swung onto Broadway Al Capp's classic strip about political corruption and hillbillies in love got turned into a musical. It rarely gets a revival, so buffs of musical comedy should check out this concert-style performance.

Magic/Bird
where: Longacre Theater
first night: Wednesday, March 21
On the court and in cultural debate, Magic Johnson shared a fierce rivalry with Larry Bird; off the court they were pals. Unconventional material but ripe for drama, and playwright Eric Simonson is a stalwart of Chicago's scene. Plus, Off-Broadway talent Deirdre O'Connell is part of the cast!

The Morini Strad
where: 59E59
first night: Tuesday, March 20
A certain type of realistic, bourgeois drama revolves around the brokering of a valuable object (the finest case of this is The Cherry Orchard, of course). In this case it's a Stradivarius violin, the sale of which threatens the friendship between a former child-prodigy and a temperamental restorer of instruments.

Out of Iceland
where: Walkerspace
first night: Saturday, March 24
A New Yorker takes a tumble in Iceland and lands on a cowboy's couch; she also has conversations with a troll named Thor. This new play portrays Iceland as a mystical land, setting to a modern fairy tale like one of Haruki Murakami's dream-realities.

A (Radically Condensed and Expanded) Supposedly Fun Thing I'll Never Do Again (after David Foster Wallace)
where: The Chocolate Factory
first night: Thursday, March 22
Six actors, fed their lines via earbuds, improvise a performance of DFW's nonfiction works. The ensemble includes two great young actresses, Jenny Seastone Stern and Lisa Joyce. If all that weren't enough to draw you out to Long Island City, the show's by director Daniel Fish, one of those essential NYC artists who seems to do more work in Europe than here at home.

Tis Pity She's a Whore
where: BAM Harvey Theater
first night: Tuesday, March 20
Possessing one of the great titles in the dramatic canon, Whore audaciously sets an incestuous affair against a decadent Italian court, with the siblings looking a lot more noble than the aristos. The company is Cheek by Jowl, a British company whose cool, stylized approach to classics earns applause, but I find it remote.


Last chance!
And God Created Great Whales
where: 45 Bleecker

The Deepest Play Ever: The Catharsis of Pathos
where: The New Ohio Theater

Evolution
where: Cherry Lane Theater

Hurt Village
where: Signature Center

Love, Loss, and What I Wore
where: Westside Downstairs

The Real Thing
where: The Secret Theater

Spring Tides
where: The Secret Theater

The Twenty-Seventh Man
where: The Public Theater

Wednesday, March 7, 2012

Off-Broadway: Painting Churchs & other revivals


The Keen Company at Theater Row
written by Tina Howe
directed by Carl Forsman

Critics tend to thump for new plays over revivals, so I want to take a second to applaud the fine revivals of plays by American women right now. Edson's sharp Wit plays at MTC, which Vogel matches with How I Learned to Drive at Second Stage, and now Howe gets a nod from the Keen Company with Painting Churches. All three prove their stageworthiness by themselves. But it's good to see plays that were successful in their initial run get remounted. The productions serve to canonize the works and their writers, strengthening a modern tradition (which is larger and less rigid than a school or genre) of women writing great work. And it brings these plays from the '80s & '90s to a subsequent generation of theatergoers. I doubt these three shows are an incipient movement, but wouldn't it be cool if they heralded revivals of Fornes, Wasserstein, Congdon, and many others?

Of the three, Tina Howe's 1983 play is less dramaturgically flashy than Wit or Drive, presenting its three-actor family drama in a standard format of linear episodic realism. Its subject, a bohemian daughter who paints a portrait of her daffy parents, (wealthy Bostonians who have friends named “Spence Cabot”), offers minimal tension. Howe's style is elusive & challenging, subtly shifting dramatic focus along with audience sympathy from one character to another. A dreamy neoclassical set (Beowulf Boritt) captures her impressionistic tone, while the casual delivery of the actors (Kathleen Chalfant, John Cunningham, and Kate Turnbull) slowly plumbs deep pools of loneliness. Carl Forsman, however, directs the play with a forthright realism, perhaps a mistaken attempt to counterbalance Howe's limpid warmth with comedic whimsy. But Howe's lovely and humane play pulls loose from Forsman's anchoring, proving itself a sturdy script worth the revival.

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Painting Churches plays at Theater Row, closing on April 7. Tickets?

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Monday, March 5, 2012

Theater: New Shows (March 6-12)

A tough week for audiences, since they have to choose which shows to see and which to miss. The cast of The Best Man makes it a must-see; the creativity of Now. Here. This. does the same. My pick of this week, The Maids, says more about my taste than the line-up. The Red Bull takes a break from 'Jacobethan' drama to produce Genet's radical absurdism.

where: Schoenfeld Theater
first night: Tuesday, March 6
The last time Broadway saw Gore Vidal's backroom political potboiler, Gore and Bush were locked in a dire campaign. The social and economic situation in 2012 is worse than in it seemed in 2000, so we're rewarded with a much stronger cast, including James Earl Jones, John Larroquette, and Candice Bergen.

where: The New Ohio Theater
first night: Friday, March 9
The title lets you know what you're in for: a deeply silly take on dramatic self-importance. The focus of the parody is Brecht, as protagonist Mother LaMadre drags her wagon across the apocalyptic battlefields of the fifth World War, hunting zombies and books. Sounds like a good show for a spring evening!

where: Irish Rep
first night: Wednesday, March 7
A middle-aged Irish duo take the audience on their afternoon tour of the National Gallery in London. It's billed as a “poetical stroll”, which doesn't sound very dramatic. But since the script's by an Irishman as well, Hand may pull out several colorful observations on famous art and celebrated artists.

where: Abingdon Theater
first night: Friday, March 9
A nice guy rents his basement apartment to an unstable neurotic, resulting in an Odd Couple friendship that goes sour as the tenant's problems mount. Sounds like standard stuff: a bit of comedy, a dollop of drama. The show will hinge on the leads' chemistry and the writer's rejection of conventions.

where: 59E59
first night: Tuesday, March 6
The utilitarian title tips its hand: The Maria Project is a stage documentary. Its subject is one Maria Salazar, a Hispanic woman who went missing over fifty years ago. The staging mingles music and film footage with the performer's story, as she tracked Salazar through her own family history.

where: The Red Bull at St. Clement's
first night: Tuesday, March 6
The Red Bull gives NYC the chance to catch Jean Genet's too-rare absurdist comedy about class, identity, language and other favorite themes of puzzling French art. A sparking cast—just three talented women—has me tempted, while the promise of a uniquely intimate staging for a small audience wins me over.

where: The Pearl Theater at City Center
first night: Tuesday, March 6
Fans of classic American drama have already caught a few of Eugene O'Neill's early work this winter. That should prep them to revisit Moon, a work from the playwright's colossal late period. This elegiac piece is a sort of spin-off from Long Day's Journey, as the older Tyrone brother finds salvation.

where: Vineyard Theater
first night: Wednesday, March 7
A blend of anecdotes, monologues from plays, original music, philosophy, this piece is hard to classify. But those who saw its workshop production at the Vineyard claim that the disparate Now. Here. This. (great title, by the way) add up to something special. Just don't go expecting a conventional evening.

where: MTC at City Center
first night: Thursday, March 8
Britain's theater mavens have been thumping the tub about this play's writer, Matt Charman, for a few years. But he hasn't made it in New York yet, so who is he? His debut is a period drama set at a quick-divorce residency in 1950s Nevada, and pits a young man against McCarthy-era paranoia.

where: The Secret Theater
first night: Friday, March 9
A closet door opens onto a beach, where a pregnant woman finds a sword-wielding nun battling a monster. The conceit sounds like Narnia, or Alice in Wonderland, but the show's surrealism may be more slippery, since reality and fantasy start to mingle and fuse. Plus, to repeat, a sword-wielding nun!


Last chance!
As Wide as I Can See
where: Here Arts Center

Assistance
where: Playwrights Horizons

Blood Knot
where: Signature Center

Call Me Waldo
where: Abingdon Theater

CQ/CX
where: Atlantic Theater at Signature

Early Plays
where: The Wooster Group at St. Ann's Warehouse

How I Learned to Drive
where: Second Stage

Russian Transport
where: The New Group at Theater Row