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The Shoemaker – Review

20 Aug

Have you ever watched a soap opera?  It’s okay, you’re among friends.  No, really.  Fine, I’ll start.  I have watched soap operas.  I have done so because quite frankly there is some amazing acting on those shows.  Like a tree in Brooklyn, it survives amongst some truly awful acting and absolutely ridiculous storyline.  The dialogue, like the acting, can go from 0-50 in mere seconds.  There doesn’t seem to be much consistency of either.  There is something almost Olympic about watching a very good actor utter the most absurd lines.  What can I say?  It’s fun.

Which explains why I liked The Shoemaker at the Acorn Theater.  This new play by Susan Charlotte, has a thin and clumsy plot.  The dialogue is stilted at times and excruciating at others.  A voice-over is used awkwardly as exposition.  At one point I was so embarrassed by this, I fantasized about hiding under my wrap.  Perhaps all this was a nod to Ms. Charlotte’s previous gig at Guiding Light?  The heavy-handed subject matter; the attack on the World Trade Center and The Holocaust, partly saved this play.  Sounds a bit counter-intuitive, no?  I am no fan of “neuralgia” (as it’s called in my home) and I do abhor cheap sentimentality.  But even I can concede that these subject matters transcend bad writing. 

Now add the rawness of the subjects with the presence of Danny Aiello, and you have the makings for a pleasant afternoon.  Mr. Aiello is just heartbreaking.  I know how ridiculous I was choking back sobs as he recited one of the four questions.  In Hebrew.  But hey, a gal can only take so much.

The play takes place in a (nicely set) shoemaker’s shop.  There are some flaws in the set decoration, but there are bigger issues with which to contend.  Mr. Aiello is joined on stage by Alma Cuervo, a delight.  Saddled with dialogue and monologue entirely incongruent with the events of the day (9/11/01) they still manage to create some very lovely moments.  Mercifully, the voice-over (with varying degrees of technical accuracy in volume control) is held to a minimum in the first act.  Unfortunately, the first act ends with a glimpse of what’s in store.  A third character (Lucy Devito) walks on stage with all the dramatic believability of a lost audience member.

The only thing keeping one in their seat during the second act are the monologues of Mr. Aiello.  He rises above the muck and finds his own beautiful truth.  This would simply not be possible in lesser hands.

One need only read the program to ascertain how this play got to the stage.  The playwright produced it.  The relationships between the actors and the donors are extensive.  Lucy Devito, so very painful to watch, is probably the most egregious of the nepotism at play.   But, it seems The Acorn has carved out a certain niche for themselves.  Their next performance is The Pretty Trap, starring Katharine Houghton.  You remember her.  She was last seen asking her Aunt Katherine; “Guess Who’s Coming To Dinner?”
 

 
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Posted by on August 20, 2011 in Uncategorized

 

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Master Class – Review

20 Aug

Before even discussing the Manhattan Theatre Club production of Master Class, can we take a moment to appreciate the incredible photo of Tyne Daly?  To quote Norma Desmond; they don’t make faces like that anymore.
In fact, they’ve slowed down the production of actresses like Tyne Daly.  She has what is known as presence.  She changes the electricity in a room.  She has a smile (not employed in this production) that starts in her eyes and goes down to her toes.  It does not rely upon precision dental work, but on her using her entire body as her instrument.
How apt then that she should portray a fictionalized Maria Callas as written by Terrence McNally.  Master Class is a well crafted, less than riveting play about Maria Callas in her later years.  It lacks the overall power of the more recent; “artist as subject of a play,” Red.  However it has many prolonged moments which satisfy and linger.
The setting is an auditorium in which Ms. Callas is holding a master class for advanced opera students.  Her narcissistic ramblings and outbursts will remind you of your worse workplace moments.  Underneath her posturings and hurtful tongue however, are some truly golden nuggets of teaching. 
The two-act play, directed by Stephen Wadsworth, is interspersed with very gracefully set flashbacks of Ms. Callas.  Original recordings are used to great effect.  The music, live and recorded, helps to give this play some needed dimension.  Two of the three opera students are given the opportunity to really sing, and it is truly magical.  It was during those moments that I stopped “watching” and became entranced.
The flashback scenes are when things really get interesting, dramatically speaking.  This is both a product of the script and of having Ms. Daly perform monologues.  I must admit an emphasis on the latter, as the script did nothing to prevent me flashing back to Ms. Daly performing “Rose’s Turn.”  It is a testament to the actress embodying the character, that I cringed at her portrayal of Aristotle Onasis.  Tyne Daly could probably utter those vulgarities, but as Maria Callas?  It was horrifying.  In a good way.
As the premise of the play is a master class, the house lights are often up and the fourth wall is more scrim than wall.  I grew increasingly tense each time Ms. Daly lobbed (what I considered to be rhetorical) questions at the eager to participate audience.  I think this could have been somewhat offset by not having the house lights as high.  The script probably does not dictate a wattage.  While I’m at it, I would probably lobby for a smaller house.  It is a small play, and while the Samuel J. Friedman theatre is not huge, it’s a bit out of proportion.
Tyne Daly last performed with the Manhattan Theatre Club in Rabbit Hole.  Like Rabbit Hole, the reason to see Master Class is the opportunity to see Tyne Daly.

 
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Posted by on August 20, 2011 in Uncategorized

 

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The Motherf**ker With The Hat – Review

20 Aug

A hefty discount and an imminent closing, motivated me to see The Motherf**er With The Hat yesterday.  I was not alone.  Every seat was filled and hopefuls filled the box office and trolled the line looking to score a ticket.  “Score” being an interesting choice of words in a play about substance abuse.

The Hat (please allow me this abbreviation) has received fabulous press and is billed as a 90 minute comedy.  The cast, as illustrated at left, is marquee worthy.  Directed by Anna D. Shapiro (August Osage County) and featuring Bobby Cannavale (Mauritius) I wasn’t filled with All My Sons (featuring Mrs. Cruise) apprehension.  The applause which greeted each famous person as they came on stage indicated what drove the audience to this production.  The (almost) manic laughter that greeted each line lent a very sitcom- set feel to the occasion.  The play is not funny.  Amusing at times, and there is one laugh-out-loud line towards the end, but overall?  Not funny.  And that’s okay.  I wasn’t there for stand-up.  The play is very straightforward.  There are no surprises, despite the gasp of the woman next to me when a paramour was revealed.  Theatre etiquette prevented me from asking her; “Really?  There are only five people in the cast.  Who did you think she was sleeping with?”

What is interesting about the play itself, is its accurate depiction of human beings, particularly their relationships with alcohol and drugs.  On paper, these characters are well developed and realistic.  Stephen Adly Guirgis has written intelligently about mental frailty.  Having endured (the first 30 minutes) of Next To Normal, I do not take this accomplishment lightly.  It is far too easy to create cartoonish characters and saddle them with enough business and cheap dialogue to indicate “troubled person here.”  Guirgis does none of that.  Instead he has written an intelligent depiction of real people.  Unfortunately however, it isn’t a very interesting play.  There is not much of a story.  It’s not boring, it’s just that there is no dramatic tension.  I have not decided how much the direction and performances exacerbated this shortcoming.

Most of the dialogue was yelled for 90 minutes.  I can not fathom how these actors do eight performances a week!  The stage is miked, but the actors are not.  This is mostly an issue for Annabella Sciorra, a lovely delicate actress saddled with a made for film voice.  Her thin head voice simply can not work in a theatre.  It is a shame for she really is a fine actress.  I’m not sure why every other performer, save Yul Vazquez was yelling.  Was Ms. Shapiro using the device in lieu of dramatic tension?  I’m not sure.  I just know I found it to be distracting.  A bit sitcom-y even. 

Speaking of sitcoms, I wonder if Ms. Shapiro has ever witnessed someone using cocaine.  Their demeanor, perhaps even speech pattern, changes a wee bit after using.  I found it odd that when the users slip (and of course, they slip) there was no discernible difference in their demeanor.  Addicts change when they use, that’s why they’re addicts.  I don’t think the script was written; “characters shall show no changes.”  I think it was a directorial decision. 

Chris Rock delivers his dialogue well.  He is best when seated as he does not know what to do with his body when standing.  He is serviceable when reciting his lines.  He did not connect with anyone, but wonderfully, neither does his character. 

Elizabeth Rodriguez plays the pivotal role of Veronica.  We are to see Bobby Cannavale’s character (Jackie) through his relationship with her.  There is no chemistry between these two people and this caused a ripple effect in plausibility.  I could not understand Jackie’s unraveling, as I could not see his lifeline to Veronica.  Perhaps if she had stopped screaming for a moment?  I don’t know.  I suspect she was just miscast, and not just because lifetime cocaine users do not have that kind of muscle definition.

The absolute gorgeous stand-out of this production is Yul Vazquez.  His character and his portrayal are fully formed.  Interesting that he is the only non-addict in the group.  He was funny and lovely and had the best mini-monologue of the entire play.  I cared deeply for him.  I am frustrated by the notion that more Mr. Vazquezes and fewer headliners might have made this a great show.

I would like to read this play and tease out on my own what the producers saw.  I suspect something merely got lost in the translation.

 
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Posted by on August 20, 2011 in Uncategorized

 

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A Free Man of Color – Review

20 Aug

A Free Man of Color at Lincoln Center is closing very soon and it seems a shame.  Yet, the play itself seems somewhat a shame as well.  Written by John Guare and directed by George C. Wolfe, this production lingers and is lovely and in the end, falls flat.  It is breathtakingly stage with an enormous cast of seasoned solid actors, but it is simply a flawed play.

Set in the very early 1800s, A Free Man of Color is in essence the story of the Louisiana Purchase.  Interestingly enough, this narrative is not as dry as you would imagine.  In fact, it is probably the most solid aspect of the work.  Where the play falls flat is in the lack of dramatic tension and emotional connection.  While the play is saturated in texture and tale, it left me emotionally cold.  I was never pulled onto that stage, I was merely a spectator.  Perhaps there were smaller issues at hand; the periodic (incongruous) rhyming, the smattering of sophomoric humor, and the genital storyline did feel self conscious to me.  However, I doubt I would have noticed as much had I been rooting or caring for someone on that stage.

The empty emotional space is certainly not the fault of the actors.  They are fabulous and include Jeffrey Wright and Mos Def (I know!) as the leads.  I can’t even believe I am stating that Mr. Def was the most poignant portrayal of the evening.  I briefly considered putting my arm around him and giving him a “there there.”  His interpretation of his character (the slave) was tight, small and dead-on.

The use of the stage was awe inspiring.  I’ve no doubt the Lincoln Center board blanched at the set design (David Rockwell) but it was money well spent.  The appearance of a simple white screen in Act II evoked a gasp.  The use of (very subtle) puppetry to depict slaves was stirring.  Musicians on the stage worked splendidly and reminded a bit of Ruined.  Quite simply, there was so much to love in this production.  The play had been cut (and is now a formidable 2 1/2 hours) and workshopped, but not enough in my estimation.   It is frustrating to sit in a theatre and watch intelligence and care unfold, and know that it really should close.  Adding to my sadness is that I have no doubt that the hundreds of empty seats would have been filled if the cast was comprised of movie or talent show stars.

 
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Posted by on August 20, 2011 in Uncategorized

 

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Bells Are Ringing – Review

20 Aug

A show of hands please for those of you who are sick of me waxing poetic about Encores! at New York City Center.  You, yes you there in the back, may want to lower that hand and use it to delete this now.

Last night I attended the dress rehearsal of Bells Are Ringing, the opening show of the 18th season of Encores!  Directed and choreographed by Kathleen Marshall (The Pajama Game, Wonderful Town, etc.) this production soars.  Featuring Kelli O’Hara, Judy Kaye, Dylan Baker, and Bobby Cannavale, this staged concert version of Comden and Green and Julie Styne is the purest of incarnations.  The rather straightforward book involves an answering service receptionist, Ella (O’Hara) and her good nature meddling into the subscriber’s lives.  There is a romantic plot line as well, and a criminal sub plot.  The songs are delightful (Just In Time, The Party’s Over) and there are simply insufficient superlatives for the full orchestra.  As in all Encores! productions, the orchestra is center stage and directed by Rob Berman.  To be able to see and hear a musical overture?  Well, I am at a loss for words.
The dance numbers throughout are simply delicious.  I am not entirely sure which, if not all, of the numbers were the original Jerome Robbins and Bob Fosse creations.  Although, the Second Act number; Mu-Cha-Cha simply screamed Fosse.  The subway car number; Hello, Hello There! is brilliant in its seemingly simple execution.  It is actually quite complicated, but so well choreographed as to seem organic.  I’m not sure there is a higher standard for choreography than that.  Ms. Marshall is quite kind to Ms O’Hara, a non-dancer, the utmost respect is due for directors who actually protect their actors.
Ella is the center of the show, and it takes a very charismatic actress to pull that off.  Ms. O’Hara does so without breaking a sweat.  She is perhaps one of the best theatrical singers around today.  Acting (very well) while singing (very well) is more rare than you would think.  If there is any tiny flaw in Ms. O’Hara’s interpretation of Ella it is her own aristocratic air.  Given more rehearsal time, I’ve no doubt she could lose that entirely and embrace the more vulnerable and slightly common character of Ella.  There were two moments that proved this theory beyond a doubt.  Ms O’Hara flubbed her lines on two different occasions resulting in a glimpse of a different facade.  The first time is definitely worth specifying as the mistake was hysterical.  She instructed the struggling playwright to sit at his computer and write.  In 1956.  The audience roared, and she was vulnerable and devoid of grace for a moment.   I also think she is not particularly well served by the Judy Holliday wig.  It is hard enough to shake the image of the incomparable Ms. Holliday while watching this show.
What is so fabulous about Encores! is it proves that it is possible to produce wonderful original (note: not staged movies) musical theatre, with amazing talent (on and off stage) and without gimmicks of any sort.  There is an element of “let’s put on a show in the barn” to it, that for me, keeps hope alive.
While this was a dress and that of a concert version, the cast was 95% off book for the entire (over) two hour show.  It is a testament to the vision and artistic integrity of Encores! that such a polished production comes out of the most abbreviated of rehearsal time.  This production is so far along that it would take very little to move it to Broadway, and for all our sakes I do hope that happens.

 
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Posted by on August 20, 2011 in Uncategorized

 

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