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The Anarchist – Review

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The Anarchist is a brief (in length and run) new play by David Mamet. It features two characters on stage for an uninterrupted 70 minutes. Cathy (played by Patti LuPone) is a convict serving her 35th year and Ann (played by Debra Winger) is a wardenesque woman serving her last day at the penitentiary. They are together performing the dance of “I’d like to be released now please.” And the dance is not well choreographed.

Cathy proclaims her interest in Christianity as an indication of her worthiness of release. This device is a bit blurry. She was born and raised by Jews (who it would appear gave her the name Catherine) and has discovered the New Testament in prison. Does she speak with the fervor of a tent preacher to impress the cross wearing Ann? If not, why work so much of the theology into the dialogue?  A sense of urgency is implied with the device of Ann’s last day, but why? Ann is not particularly lenient or empathetic. Maybe Cathy’s chances for being sprung will improve with a new administrator. If there is dramatic tension it’s buried too deeply to detect.

Mamet’s dialogue seems to have undergone a conversion as well. A Sunday school teacher would be pleased. However the rhythm is still quintessential Mamet. Ms. Lupone is comfortably at home in this musicality. She is at complete ease and utterly graceful with the dialogue. Ms. Winger is much less so and is not served well by Mr. Mamet’s direction. He has created a wooden and opaque portrayal in her Ann.

There are certainly interesting ideas conveyed throughout the play. Cathy’s (Weather Underground) crimes promise to evoke mixed feelings in audiences of a certain age. The psycho/social scholar will be intrigued with the debate over rehabilitation. There is also much to gain from watching Ms. LuPone stripped of song and embracing her dramatic roots. But watching The Anarchist is more akin to watching a (good) poetry reading than a play. Inserting dramatic tension into the script, recasting the role of Ann, and not having the playwright as director might result in a nice little play.

 
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Posted by on December 6, 2012 in Uncategorized

 

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Ah Betty

Like a rare precious gem is the performer who possesses every qualification of a diva save the diva-ness. Betty Buckley has a voice to match the angels in its glory*, a resume to beat the band and the warmth and palatable sense of fun of a favorite (glamorous) friend. She is packing the (soon to be shuttered) house at Feinstein’s for the month of October in what’s become an annual highlight of the season.

This year Ms. Buckley is moving on from the Ah Men (of 2011), to The Other Woman:The Vixens of Broadway. Now the only thing better than the men’s songs in musical theatre are those of the second, supporting or featured actress. The supporting female roles are meaty and often far more interesting than the leads. What better catalogue to sink one’s teeth! While known for big Broadway roles and work on the screen; Ms. Buckley conveys a soul of a jazz artist. The artist is in perfect voice and it is one that moves seamlessly between thoughtful, quiet interpretation and raising the roof power.

Ms. Buckley selects several of her favorites and puts her own personal, and often delicate, spin on each. When You’re Good To Mama is sung to several audience members while tousling hairs. Her playful interpretation is enchanting and often missing in other’s performances of this song. A dynamo of a pastiche (words by Eric Kornfeld, musical adaptation by Eric Stern) paints a portrait of the supporting female lead to the melody of Gotta Have A Gimmick (Gypsy), Memory (Cats) and Little Girls (Annie). It is wonderfully funny and clever and a keeper. Other highlights include; I Can’t Say No (Oklahoma), The Miller’s Son (A Little Night Music), I Know Things Now (Into The Woods) and Another Suitcase In Another Hall (Evita). Ms. Buckley’s band (with the musical director/arranger Christian Jacob on piano) is fluid and jazzy and a perfect balance for the singer’s artistry. For two songs, Ms. Buckley is joined on stage by silky voiced and utterly charming Adam Berry. The evening ended with Corner of the Sky (Pippin) a song with a soaring melody and a sensible philosophy. A night with Betty Buckley guarantees that one’s life will be something more than long.

*Meadowlark (1989) – Stephen Schwartz

 
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Posted by on October 21, 2012 in Uncategorized

 

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A Really Big Show

Even if you’d never watched the Ed Sullivan show, you probably know what it was. The variety show brought the Beatles to television. Ed and his show played a central part in the Broadway musical (and film) Bye Bye Birdie. Any1950s-1960s period film or television series will make mention of or reference to Ed Sullivan. Ed and his really big show, liked to discover talent. He was an American popular culture tastemaker for decades. He wasn’t a performer in any traditional sense; he was a host.

That would be where Barbra Streisand’s new show and Mr. Sullivan’s old show part company. Barbra is a performer and (just in case you missed it) is performing in Brooklyn for the first time. Her show, at the spanking new Barclays Center, entitled Back To Brooklyn, opened last night. It was a long show featuring several performers and videos. She sang some too.

The concert (with a start time of 8:00 PM) started some time after 8:30 PM. It was fun to picture the ghost of Judy Garland whispering in Barbra’s ear; “not yet, you can’t go out yet.” A slideshow of Barbra’s childhood to Funny Girl played on the scrim while the ravishing orchestra treated the audience to beautiful arrangements of bits of her best. The scrim dropped (in a rather quaint old-fashioned stage-handy manner) and the stage was revealed. The stage was designed in and around the orchestra, allowing the audience full view of the wonderful musicians. Barbra appeared and bantered her way into “As If We Never Said Good-bye” from Sunset Boulevard. Whether the song benefited from altering the lyrics to include words such as “lox, knish, and Flatbush” is a matter of personal taste. Shortly after the song, and after many unsuccessful attempts, the audience was able to communicate that the spotlights aimed at the audience’s eyes (for the past hour) must be turned off. Blessedly she got it and took care of her audience. We were then able to see her ravishing self. In the first of three outfits (not including a sequined James Brown cape) she was spectacular.

After a few songs the first of her guests were presented. A young Italian singing trio; Il Volo took the stage; engaged in some rehearsed banter, and sang one song with Barbra. Barbra then left the stage for Il Volo to perform on their own. They have strong, if not particularly interesting voices, but it felt odd to sit through an opening act during a concert already in progress. Barbra returned and sang a bit more and answered (prescreened) question, at times quite humorously. More acts were introduced throughout the night; a trumpeter, a violinist, a drummer, and a children’s choir. If your musical taste is the same as Ms. Streisand this may have been a welcome treat. There was one guest who added tremendously to the evening. The audience was introduced to the guest via a film (one of three shown about Barbra.) This was a film Barbra’s son Jason had made for her birthday. It was a lovely montage of mother and son photos throughout the years (with ages 8-24 somewhat missing in action.) The audio was a stirring rendition of Nature Boy (Nat King Cole) sung by none other than Jason. He joined his mother on stage for what was without question the best 15 minutes of the concert. Jason appeared slightly nervous, and extremely handsome. Barbra simply melted in his pressence. She was a maternal puddle and a swooning fan. Mr. Gould does have a beautiful, pure and strong voice. He seems to have found a sound that is all his own, yet not surprisingly he blended perfectly with his mother in duet.

Barbra’s solo numbers included a brief tribute to her recently departed friend and colleague Marvin Hamlisch and a nice shout-out to the late Donna Summer. The bells and whistles number was most certainly the show-tune medley (2 parts Gypsy and 1 part Funny Girl.) Other audience favorites included; Evergreen, People, and Happy Days. All songs had been newly arranged to accommodate her range. It created an interesting effect, similar to seeing a new interpretation of a classic play. Her voice has changed rather noticeably. It was a bit stressful for the audience to worry about notes being hit. She is a seasoned (to put it mildly) performer and knew just how to recover each and every time.

Audiences will not be disappointed if they are prepared for a variety show. No doubt when the show hits the road it will no longer be called; “Back To Brooklyn.” A more apt title might be; “Barbra and Friends.”

 
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Posted by on October 12, 2012 in Uncategorized

 

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Who’s Afraid Of Virginia Woolf? – Review

Why in the world would a person willingly see a (three hour) play for the fourth time? How strong a suspicion would that viewer have of seeing something completely new? Very strong, 100 proof strong. From the very first sound (Martha’s gentle laughing off-stage) it was clear that this was a new George and Martha. Amy Morton and Tracy Letts, by way of Steppenwolf (and August Osage Country fame) are so very human that watching this production, directed by Pam MacKinnon is more akin to peeking in a window than looking at a stage.

Martha is often portrayed as a braying overtly sexual ball of venom. George is frequently placid and defeated. Ms. Morton & Mr. Letts have no interest in going down that road. When George refers to Martha’s party behavior as braying, her retort is barely in an outdoor voice. It’s then that we know this George and Martha are equally matched in their ferocity. Their words and manners, so natural and true, add a dimension to the rawness of their story, their marriage. Mr. Letts’ George is strong and knowing and funny. The treatment of Martha’s sensuality is an interesting interpretation. Many a Martha has climbed Nick as a boozy floozy in a too tight top. Ms. Morton seduces Nick in the least sexy of ways. She stumbles and clinically performs the seduction in a desperate attempt to have her husband respond. Nick’s interest is seen more clearly for what it is; ambition.

Nick and Honey, perfectly cast with Madison Dirks and Carrie Coon are far less naive and childlike than we’re accustomed. Nick holds his own amidst the incoming shells. Honey is young and quite tipsy, but very real and recognizable. The play motors along via free-range party games (Hump the Hostess, Bringing Up Baby, Get the Guests) as we discover what lies beneath. With the lower volume of this production we can really hear what is and what isn’t being said.

Ms. MacKinnon’s pacing and staging is fast and fluid. A magic trick of sorts results in the three acts rushing by as we simultaneously feel the characters’ building exhaustion. (This play should always been seen at night, preferably late at night.) Who’s Afraid of Virginia Woolf opens at the Booth Theatre on the 50th anniversary of its premiere (October 13th.) This production is a poignant and powerful tribute to Edward Albee’s most popular play.

 
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Posted by on September 29, 2012 in Uncategorized

 

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An Enemy Of The People – Review

Boyd Gaines and Richard Thomas sparring with seething and faltering restraint may be the finest five minutes on Broadway this year. There is a moment so powerful that the full house holds its collective breath. What good fortune that there is more than five glorious minutes to An Enemy Of The People.

Rebecca Lenkiewicz has adapted this Henrik Ibsen play, which was previously adapted by Arthur Miller. While there are many sparks of modernity in the dialogue it is still clearly Ibsen’s treatises. Mr. Gaines’ Dr. Thomas Stockmann is the voice of the playwright, driven by his pursuit of truth in black and white. Mr. Thomas plays his brother and town mayor Peter Stockmann. The mayor has an enormous investment in the small town’s baths business. He is also the benevolent benefactor arranging for his brother’s employment with the baths’ administration. The bohemian medical brother with his boisterous family is in stark contrast to the restrained top hat and walking stick mayoral brother. Their differences grow starker as the good doctor receives confirmation of his suspicions of water contamination in the baths. It is then that all hell breaks loose.

Many will experience the positions and platforms of journalism, politics and economics to be achingly timely, but in fact they are timeless. The shifting positions and arguments sound excruciatingly familiar but that is because they never change. The masses are not necessarily equipped to lead. Truth may feel more important than commerce, but eating is important. Loudly chanting rhetoric doesn’t make the rhetoric true. People tend to worship the one wearing the fanciest hat. Where these powerful themes fall short is in their obvious biographical nature. It becomes challenging during some of the more heated tirades to see past an angry playwright. The ending moment of the production reinforces this response.

It is through the powerful and nuanced performances which include; Gerry Bamman(Alaksen,) Michael Siberry (Morton,) John Procaccino (Hovstad) that the whole becomes flawless. Directed elegantly by Doug Hughes, the characters and action seem to float. The staging and sound (David Van Tieghem) of the town meeting scene is simply fantastic. The audience, with very little fanfare, seamlessly morphs into the townspeople. We are not just being told how mob mentality develops we experience it firsthand. John Lee Beatty’s set is starkly apt and very cleverly designed. It’s less of a set and more of a world.

This Manhattan Theatre Club production should be seen for the very fine performances, intriguing themes, splendid production, and believe it or not; the laughs.

 
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Posted by on September 23, 2012 in Uncategorized

 

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