Oscar E Moore

Aimee Semple McPherson – “Sister Aimee” – evangelist extraordinaire and media celebrity.  And now the subject of a surprisingly entertaining new musical by Kathie Lee Gifford – a media celebrity herself who has impressively provided book, lyrics and some additional music for her fascinating and impressive bio-musical SCANDALOUS – with a tuneful, raise the rafters and power ballad peppered score by David Pomeranz and David Friedman now playing at the Neil Simon Theatre.

Was she a faith healer?  Was she a fraud?  Did she hear the voice of God calling her to spread His word worldwide or was she a pill popping, mixed up woman caught between her career as founder of the Angelus Temple and her personal life where her choice of lovers was questionable to say the least? 

Whatever she was, as portrayed by the immensely gifted Carolee Carmello in a breathtaking performance, Sister Aimee is a dynamic work-a-holic – a force of nature with vocal chords made of titanium and a spirit and a fire a passion that makes the audience believe in her fully, instilling in them the desire to “Stand Up” as the first number instructs us to do as Sister Aimee is on trial for allegedly faking her own kidnapping.  What a fascinating story!  You can’t make things like this up.  Aimee Semple McPherson was truly one of the first reality stars, like it or not.

On a majestic unit set of the Angelus Temple by Walt Spangler, Aimee begins her story in flashback and narration.  Narration that we could use less of and thankfully is soon dispensed with, as we see first hand the story of her most interesting life.

Canadian.  Born of a father whom she adored (George Hearn) who also portrays her nemesis Brother Bob later on and her mother Minnie (Candy Buckley) who worked for the Salvation Army drilling her daughter with The Scriptures and who later becomes her manager. 

But Aimee wanted to be an actress.  And so we see the development of the woman who would bring thousands to her Tent Shows combining the Bible with MGM production like numbers (Adam and Eve, Samson and Moses) providing laughter and songs while slipping in the Gospel with eye popping, sparkling costumes by Gregory A. Poplyk with her founding of the Foursquare Gospel Church in 1920’s Los Angeles.

Dressed in denim and then white silk, Carolee Carmello meets the men in her life.  First an Irish Pentecostal minister Robert Semple (Edward Watts with a gorgeous voice that matches his looks) and are off to China where he dies of malaria.  Undeterred she meets an accountant Harold McPherson (Andrew Samonsky).  He is only seen briefly and has nothing to say.  Both men thankfully reappear as other intriguing characters.  Both men are terrific sharing an Act II duet “It’s Just You” which is delightful.

Mr. Watts becomes the physically fit David Hutton who is after Aimee for various reasons.  Mr. Samonsky – a skillful actor and wonderful singer becomes Kenneth Ormiston who creates a radio program for her and pursues her for various reasons.

On her way to fame and fortune she meets the owner of a brothel Emma Jo (a spunky Roz Ryan) who becomes her loyal and very honest assistant and confidante.

If in Act I we see the rise of Aimee, Act II shows her success (the wonderful “Hollywood Aimee” sung by a group of reporters) and the animosity towards her that will attempt to topple her from her tower – resulting in her “eleven o’clock  number” –  “What Does It Profit?” which is a standout, crowning glory success for Ms. Carmello.  In fact her entire performance is.

I went into SCANDALOUS a non-believer but surprisingly Kathie Lee Gifford changed all that with her very entertaining show that has a banquet table full of outstanding performances and excellent direction by David Armstrong.

Prayer, persistence and patience certainly pay off here.

www.ScandalousOnBroadway.com  Photos:  Jeremy Daniel

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My funny bone seems to have become rusty, not finding very funny nor satisfying the new Christopher Durang dysfunctional family comedy VANYA and SONIA and MASHA and SPIKE which is playing in over the top grandeur at The Mitzi E. Newhouse Lincoln Center Theater on a “let’s move in immediately” set – a comfy Bucks County home designed by David Korins where the gay, droll and dead pan Vanya (David Hyde Pierce) lives in imperfect harmony with his bi-polar sister Sonia (Kristine Nielsen) who, as it turns out, is adopted – which accounts for how dissimilar they are.  However, they are both extremely funny.  The rest of the cast and writing elicits chuckles and/or boredom in this mash up of Chekhov meets Durang at a costume party.

Vanya and Sonia have taken care of their sick and now deceased parents for what seems to be forever and live gratis due to the fame and fortune of their sister Masha (an over-the-top Sigourney Weaver) who has become rich and famous as a stage and film star – mostly appearing in sexy-killer movies.   Fame has gone to her head, and her voice and her arms.

But times are hard now and global warming is setting in and she has returned home after a too long absence to invite them to the aforementioned costume party (Ms. Weaver wearing a spot on Disney Snow White costume by Emily Rebholz and prancing around like a girl half her age which she believes she is) and to put the house and “cherry orchard” – all of nine trees up for sale. 

Tagging along like a dumb puppy in heat is her strikingly handsome and well built boy toy, lap dog and much younger fellow actor Spike (Billy Magnussen) who spends a lot of time in his briefs showing off his assets and flirting shamelessly with Uncle Vanya.

Also in attendance is Cassandra (Shalita Grant) their cleaning lady who seems to have been reared on Greek tragedy and has the ability to foresee the future – and spreading her ominous omens as soon as they hit her head.  She’s also a whiz with a voodoo doll.

While wading in the off stage pond, Spike meets a naïve, pretty, young woman who is visiting her family and invites her over much to the chagrin of Masha.  The girl’s name is Nina (a sweet Genevieve Angelson).  Are you catching on to the Chekhovian references???  She is in awe of meeting her idol which softens Masha for about three seconds.

Masha had intended that Vanya and Sonia (who Masha ignores in the extreme) to be Grumpy and Dopey.  The end of Act I image of Pierce going off with his sister to the party is worth another laugh.  She has outsmarted Masha and is done up in a gorgeous gown pretending to be Maggie Smith.

Act II is much more of the same but has two wonderful monologues – by Nielsen (a telephone conversation with a man she has met at the party – how did he get her number? she certainly didn’t give it to him as she doesn’t know who he is but takes the call anyway) and Pierce (about what he misses most about the past – specifically the 1950’s) which score a few more points on the laugh meter. 

However, they do not make up for the lack of believable situations, the odd over the top behavior and missteps by actors and director (Nicholas Martin) alike.  But remember it’s a Christopher Durang show and that’s what Durang delivers.  Absurdist humor.    He’s an acquired taste.

Produced in association with the McCarter Theatre Center in Princeton.

www.LCT.org  Photos:  T. Charles Erickson

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Paulette Haupt, Artistic Director of PREMIERES was on a mission to create a new musical experience where she introduced and commissioned writers and composers who had not worked together previously to create three new musical monologues – telling original, individual stories from a single point of view – revealing their most intimate inner thoughts in words and song.

And so BORROWED DUST, ARLINGTON and FARHAD or THE SECRET OF BEING came into being and you can and should go to see them at the 30^th Street Theater, 259 West 30^th Street.  It is a unique theatrical experience with varying degrees of clarity and musicality. 

Three musical monologues lasting 90 minutes without intermission.  Three fantastic actors who sing or if you prefer three singers who can act.  Without them I think the evening would not be as successful.

In BORROWED DUST Hunter Foster, seated mostly on the arm of an upholstered chair has just returned from Colorado where he has had to deal with the death of his younger brother, a coroner and their mother.  He has come home to New York with his brother’s journal and backpack trying to understand the tragic events.  It’s a heart wrenching tour de force performance by Mr. Foster strangely mystical and revealing of all four characters.

Book & Lyrics Martin Moran, Music Joseph Thalken.  Music director/piano Paul Masse, cello Leo Grinhauz.  Astutely directed by Jonathan Butterell.

Next is the complex and not as clear ARLINGTON featuring Alexandra Silber who has a gorgeous voice and stage presence which makes use of Stephen Foster’s “Beautiful Dreamer” to good effect.  A perfectionist, seated at an upright piano she ponders the fate of her husband in the military and the effects of war on innocent people, sipping bourbon in the process.  I got lost somewhere in the middle but Ms. Silber’s voice kept me enthralled.

Book & Lyrics Victor Lodato, Music Polly Pen.  Kenneth Gartman Musical director/piano.   Directed by Jack Cummings III.

The final musical monologue FARHAD or THE SECRET OF BEING and most successful musically makes use of a carpet that has been rolled up against the opposite wall during the preceding one acts.  Arielle Jacobs is a young Afghan girl who has been brought up as a boy (to make her life easier) and who now has to accept the fact that she is a girl and not liking it very much.  Will he be forgotten when she becomes who she is meant to be?  It’s a fascinating tale, expertly performed.  And extremely moving.

Music direction/guitar Matt Hinkley, Oud, Brandon Terzic, Percussion and perc. arrangements David Rozenblatt.  Beautifully directed by Saheem Ali.

The lighting design – which is fantastic for all three productions, is the work of Jen Schriever. 

For a completely different and unique musical experience with three incredible performances I urge you see INNER VOICES.  Through Dec 2^nd.

www.PremieresNYC.org 

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With today’s depressing headlines – High Unemployment, Homelessness, Hurricanes and War – it’s a gosh darn shame that tickets to the oh so optimistic, tuneful and mostly delightful revival of ANNIE cost so gosh darn much.  It’s truly a hard knock life when kids can’t afford to see this winning show.

Thirty five years ago ANNIE written by the creative team of Thomas Meehan (Book) Charles Strouse (Music) and Martin Charnin (Lyrics) was a huge hit and now it has been given a fresh facelift with a brand new eleven year old moppet with a crop of red ringlets and a clarion voice going by the name of Lilla Crawford who is spreading her sunshine throughout the Palace Theatre where an ageless ANNIE directed by James Lapine with his keen eye for detail is now performing eight times a week.

She is adorable.  She is spunky and confident and a natural born actress.  She is a role model for all her fellow orphans with her never giving up in her attempt to find her parents who left her at the orphanage to be cared by Miss Hannigan (Katie Finneran) a woman who is fond of men and liquor but who can’t stand kids.  It’s a Tony Award winning role if there ever was one. 

And herein lies the “well almost” part of this review.  Katie Finneran is unfortunately a disappointment.  She has shown in the past how great a comedienne she can be but something is off here with her wildly exaggerated and off key performance.  That being said the rest of the show with its jaunty and clever score does hit all the right notes.

Especially with Oliver “Daddy” Warbucks (a sensational handsome, virile Anthony Warlow) who has been imported from Australia with his incredible voice.  He and Annie share a very special relationship in the show.  A Billionaire who chooses her to spend two weeks with him over the Christmas holiday to “improve his public image” finds himself falling hard for the tyke and hoping deep down that her parents do not show up to collect the 50,000 dollar reward he has offered so that he can adopt her.  Their scenes together would make Scrooge have a change of heart.  They are perfect together and their true affection for each other floods over the footlights.

And then there is, of course, Annie’s dog Sandy played by Sunny a rescue dog with the most soulful eyes and a face that one immediately falls in love with who even gets to “howl along” during the final moments of the musical.

With the stylized choreography of Andy Blankenbuehler and the fantastic flowing sets by David Korins the show whizzes along briskly.  The mansion of Mr. Warbucks is particularly amazing with its pop up story book rooms unfolding before our eyes.  It’s magical.   As are the N.Y.C. number and the toe tapping finale which are both superbly entertaining.

Vintage black and white newsreels are used to set the period and the costumes by Susan Hilferty follow suit. 

Annie’s fellow orphans are delightful – although sound designer Brian Ronan might want to readjust his equipment so that they don’t sound so tinny. 

Clarke Thorell as Rooster (Hannigan’s brother and partner in crime – along with Lily St. Regis – J. Elaine Marcos) do justice to “Easy Street”  as they chart their way to easy money by pretending to be Annie’s long lost parents.

As Mr. Warbuck’s secretary Grace, Brynn O’Malley looks and sings like a dream making the most of a necessary but uneventful role.  And as F.D.R. Merwin Foard wheel chair bound with leg braces (nice touch) milks the role for all its worth and his rallying of his cabinet members to sing the most famous of all Annie’s songs “Tomorrow” makes it sound like it is part of his “New Deal”.

This just in from Sandy –  Arf!  Arf arf arf!  Arf ! Arf! : ANNIE really should be made affordable for the many that won’t be able to see this delightful and inspiring show because of its prohibitively high cost of admission.  Maybe its time for its authors to give back some of the fortune they’ve made for the less unfortunate to attend.  Just a thought.  Arf!  Arf!  Don’t mean to bite that hand that feeds me…

www.AnnieTheMusical.com  Photos:  Joan Marcus

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A marriage lasting twenty seven years – not without problems.  Set against the background of The Lone Star State – TEXAS.  He, Jordan “Bick” Benedict (Brian D’Arcy James) cattle baron – rich, set in his ways, stubborn and madly in love with his land.  She, Leslie Lynnton (Kate Baldwin) from Virginia – a ravishingly beautiful, well educated and compassionate woman who discovers that she has married not only Jordon but his ranch as well.  Jett Rink (PJ Griffith) a hot, handsome and predatory ranch hand who discovers oil becomes a major part of their story that spans three decades (1925-1952).

GIANT is as big as its name indicates.  A sprawling saga written by Edna Ferber in 1952, it has been set magnificently to the intelligent words and melodic and sometimes operatic music of Michael John LaChiusa which includes Mexican folk, jazz, country, boogie, mariachi and power ballads played by a seventeen piece orchestra high above the barren stage of The NY Public Theater’s Newman Theater along with the concise-as-it-can-be-book by Sybille Pearson that manages to include all of the varied characters and huge plot that engulfs us for three solid hours of theatrical mastery.

Skillfully and beautifully directed by Michael Greif I foresee the production moving to Broadway with some additional cuts to tighten Act I.  The cast is magnificent.  Foremost – Brian D’Arcy James with his rich voice and strong acting ability – the perfect pairing for his wife – Kate Baldwin – giving a confident and moving performance with her vocals unsurpassed.

There are some newcomers who offer star-in-the-making performances.  Namely PJ Griffith as Jett – who manages to almost steal most of the scenes he is in with his charismatic voice and good looks – his aw’shucks attitude turning into a tough and smart oil tycoon always on the prowl for a beautiful woman.

Katie Thompson as Vashti with her fiddle and bourbon – the woman from the neighboring ranch who thought she was preordained to marry Bick gets to sing two of the most memorable songs from the show – “He Wanted a Girl” and “Midnight Blues”.

Bobby Steggert as the young son of Bick – Jordy Benedict, Jr. starts off unsure of himself – not living up to his father’s expectations – stuttering to get his words out – a shy boy who would rather read and study, eventually growing into his own skin and marrying a Mexican girl Juana Guerra (Natalie Cortez – who has a natural beauty, a warm heart and a gorgeous voice).  They both leave us with great expectations and hope at the beautifully moving finale.

Michele Pawk as Bick’s tough and bigoted sister Luz adds her great talent to the themes of intolerance and race relations.  Angel Obregon (Miguel Cervantes) has a wonderful song “Jump” that is lively and funny and touching as he goes off to war.  Uncle “Bawley” Benedict (John Dossett) with his booming baritone and understanding wins our sympathy.  Everyone in the cast of twenty two is so very good. 

There are moments of pure joy and moments of sadness.  Of excitement and of stillness set against the panoramic skies of Texas and its oil wells rendered stylistically by Allen Moyer. 

The costumes by Jeff Manshie along with the hair and wig design by David Brian Brown convey the changing periods exactly.  And finally, the orchestrations by Bruce Coughlin capture the mood of each song that will leave you completely captured and a fan of this terrific tale from Texas which is a gigantic achievement for all involved.

In association with The Dallas Theater Center, GIANT runs through December 2^nd.

www.PublicTheater.org    Photos:  Joan Marcus

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Can a shy, sheltered and awkward yet overly devoted daughter of a famous New York City doctor living luxuriously on Washington Square who already has enough money to live on from her mother’s inheritance and stands to gain triple that amount when her father dies find true happiness and love with an animated, charming and out of work manipulator who obviously enjoys the finer things that life has to offer and wants to marry her only two weeks after they’ve met?

Thus sums up the basic plot of The Heiress by Ruth and Augustus Goetz.  Written in 1947 and based on the novel WASHINGTON SQUARE by Henry James this psychological tale of revenge melodrama has seen better days. 

There is really only one reason to revive this old chestnut and that is to showcase the talents of the actress playing Catherine Sloper.  The producers have made a major misstep in the casting of Jessica Chastain who doesn’t inhabit the role as well as she should. 

She is stilted and her line readings sound just like that.  Line readings.  Devoid of compassion and heart.  In a word, leaden.  There is no inner life here, just an exterior façade of living in the shadow of her mother’s beauty and gracefulness while falling for the handsome and duplicitous Morris (a terrific Dan Stevens).

Morris is a man who will say anything to wed Catherine, working more on his amiable smile than a career at whatever.  He has charmed Catherine’s aunt Lavinia (a scene stealing Judith Ivey who at times seems to be in a play by Oscar Wilde) but not her stern father Dr. Austin Sloper (David Strathairn who at times appears to be Sam Waterston) who sees right through this shallow chap and his elegant, expensive gloves.

Dee Nelson as Mrs. Montgomery (the sister of Morris) turns is a very believable and strong performance.

Director Moises Kaufman has tried to enliven things by focusing on the odd humor of the piece and encouraging Ms. Ivey to flutter and giggle her way through the evening.

The real star of the show is Derek McLane who has designed a sumptuous set that is enhanced by the costumes of Albert Wolsky and the lighting design by David Lander.

It’s just a shame that this particular Heiress doesn’t deserve to live there.

Limited engagement.  Through Feb 10^th only at the Walter Kerr Theatre.

www.TheHeiressOnBroadway.com   Photos:  Joan Marcus

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Fifty years ago Edward Albee’s “Who’s Afraid of Virginia Woolf?” took New York by storm establishing him as one of the most original and daring playwrights of his day.  This revival by the Steppenwolf Theatre Company which is now playing at the Booth Theatre re-establishes Mr. Albee’s pre-eminence as a great writer who was way ahead of his time.  His play is as fresh and vital and vitriolic today as it was fifty years ago.

I saw the original production when I was a naïve eighteen and was very confused as to what was happening, remembering only a lot of shouting and its three hour length.  I don’t remember laughing much.

But this vivid and intense production under the superb direction of Pam MacKinnon with an incredibly strong cast brings the text to horrifying life.  I guess it’s taken all these years for me to appreciate the beauty of the writing, its dark humor and the ability of its characters to reveal – their dirty laundry – in front of strangers – and hoping that we do not recognize ourselves in such a vile and unsavory situation.

There should not be an empty seat in the house for this heavy duty drama – the war between two pair of spouses going at each other in a nicely frayed and detailed living room designed by Todd Rosenthal in a house on the campus of a supposedly staid New England college circa 1962.

And yet, unfortunately, there were.  The theatre going public wants big name stars.  A Pacino.  A Katie Holmes.  This production has cast four exceptional actors and in my opinion they are all stars.  Stars that are not yet household names or names that will automatically sell tickets.  Nonetheless they are stars.  And people should be eagerly standing in line to see them.  You will not see a better foursome on the New York stage this season.

From the minute George (Tracy Letts) a college professor and would be novelist and Martha (Amy Morton) his older wife enter the ring – their living room – at 2 a.m. after attending a faculty party (her dad is the President) – the sparing commences. 

She, the expert champion of the put down.  He, countering her verbal punches with his own sharp and self deprecating jabs.  They have each met their match here.  And when he warns her to cease you better believe he means it.  Their frustration and discontent bubbling over like lava spewing from a volcano, all the while continuing on their drunken bile inducing binge.

It isn’t long before Martha’s guests arrive.  A young couple from the party.  Newcomers, who bring their own set of baggage along for the bumpy ride.  Nick (Madison Dirks) a professor and Honey (Carrie Coon – watch her slowly dissolve!).  He’s sexy and wants to impress.  She is rich, proud of her husband and downs brandy one after another.  They soon become the audience for George and Martha’s mind games – Humiliate the Host, Hump the Hostess, Get the Guests and Bringing Up Baby forcing them all to see the heartbreaking truth about themselves and their illusions.

“Who’s Afraid of Virginia Woolf?” is blistering, brutal and honest theatre at its best and should not be missed.  Through February 24^th ONLY.  And that’s a pity.  Please.  Rush.

www.virginiawoolfonbroadway.com  Photo:  Michael Brosilow

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This Roundabout Theatre Company revival – with an odd contemporary translation full of anachronistic words and rhyming phrases by Ranjit Bolt (after Edmond Rostand) might be better entitled Cyranose de Bergerac, where IT takes precedence over all else. 

This large, porcine, pulpy, phallic proboscis is hard not to notice to the extent that you might become preoccupied with IT even when the actor wearing IT (Douglas Hodge) isn’t around and the sounds and fury of his 17^th century co-horts, very much like a band of musketeers or more modern fraternity guys are stomping and shooting in a very Le Miz like epic grandeur atmosphere designed by Soutra Gilmour under the direction of Jamie Lloyd.

What’s holding IT on?  How can Hodge breathe properly?  Will someone knock IT off?  I’m afraid that IT is very disconcerting.  Perhaps it is also the production itself that tends to make one feel not completely involved with the play and its characters and their assorted wigs.

From his “Mama Rose” entrance where Cyrano interrupts a play in progress accusing them of “hamming” it up, Mr. Hodge immediately follows suit as the supposedly dashing, swashbuckling, romantic poet whose words are as sharp as his rapier.  He is proud.  He poses.  IT always up in the air and in profile, lest we forget IT exists. 

Cyrano is in love with his cousin, the comely Roxane (Clemence Poesy who is authentically French).  She is in love with the meek but handsome Christian (Kyle Soller).  The villain of the piece the Comte de Guiche is portrayed by the ubiquitous villain of Broadway Patrick Page who also has the hots for Roxane.  It’s a shame that this particular Roxane leaves one cold, wondering what all the fuss is about.

I did not believe her.  I did not believe Mr. Hodge who speaks at a fast clip to get all those words out sometimes getting them garbled in his mouth or perhaps IT is to blame.  I did not believe that Mr. Soller was infatuated with Roxane to the extent that he is supposed to be.  To the extent of having Cyrano speak and write love notes to the lovely Roxane for him.  He has the looks but Cyrano has the words.  And so they team up to woo her, which unfortunately doesn’t turn out the way any of them expect.  They are all just playing parts.

Who did I believe?  Roxane’s Duenna – Geraldine Hughes – who gives another wonderful performance as she did as Molly Sweeney at the Irish Rep.

CYRANO is a long show.  Act I is dark.  Act II is darker.  There is a lot of noise to keep you from dozing off.  Gunshots and battle cries.  Even a fiddler on the roof.  Unfortunately, there is little panache.  Just a lot of IT.

www.RoundaboutTheatre.org  Through Nov 25^th  www.CyranoBroadway.com

Photos:  Joan Marcus

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It’s unclear where exactly FALLING, a new 75 minute play by Deanna Jent, takes place.  It could be in anyone’s middle class home looking very much like a traditional Hallmark television presentation with children’s toys scattered around the living room. 

Also unclear is what the parents of 18 year old Josh (an exceptional Daniel Everidge, giving a fine, moving performance) who is autistic do for a living, besides taking care of Josh – a full time job, each other and their daughter.

What is very clear and what matters most is how difficult it is grappling with a child who is autistic – both for the parents Tami (Julia Murney) and Bill (Daniel Pearce) and sarcastic sibling – 16 year old Lisa (Jacey Powers).  You will come to the conclusion that love does conquer all.  It has to.

Eighteen years of not knowing when Josh will become violent – it only takes a second for things to go wrong.  Eighteen years of trying to understand his limited vocabulary.  And playing games.  And having “code” words” and having enough patience to get though each day under extremely difficult circumstances.  

Just getting him ready for the bus to take him to school is a major event. He would rather have the feeling of feathers falling on him from a box set up to do this and then dancing his “Happy Dance”.

And then dad’s mom, Grammy Sue (Celia Howard) comes to visit for a week with some broken toes, her own sugar substitute, her Bible and a gift for Josh after not seeing him for three years.

Grammy Sue seems not to have been in close contact all those years.  She is shocked at how Josh acts in front of her – he oblivious of her and massaging his nipples and masturbating.  She has the perfect solution.  Pray.  After all, God has a plan and Josh has been born with his ailment for a reason.

Mom’s solution?  Wine and a couple of fantasies that help her cope.  One of which is a tried and true theatrical trick that works up to a point but dissipates the true impact of this somewhat successful and admirable attempt at having us take a look into the private lives of those who must deal with such excruciating problems.

Lori Adams directs this educational albeit not altogether successful dramatization.

www.FallingPlay.com   www.AutismSpeaks.org   Photo:  Carol Rosegg

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Praise God.  Blame God.  Bridging the gap between those who believe in God and those who don’t – and the daring of Off-Broadway and the star filled marquees of Broadway a not so new 100 minute play by Craig Wright – GRACE has finally opened at the Cort Theatre, after  productions in Washington D.C., Chicago and Los Angeles.  Thank God.

GRACE is one of Broadway’s most interesting, theatrical and well put together productions.  It is thought provoking, funny, extremely well acted by its four member cast, tightly directed by Dexter Bullard and beautiful to look at thanks to the unique, inventive and ingenious Magritte-inspired set by Beowulf Boritt that ever so slowly turns – going forward and then backwards as does the plot of the play which opens where the play ends and then reveals the how and why of its outcome.

The set is the living quarters of both the Evangelical Christian couple (Steve – Paul Rudd & Sara – Kate Arrington) who have come from Minnesota to gun happy Florida to finalize a deal that will be the first in a chain of Gospel-Hotels awaiting the nine million dollars that is to arrive from a Swiss Bank and their computer expert neighbor Sam (Michael Shannon) who has lost all faith after a fatal car accident that has killed his fiancée and left him with half a scarred face that is covered by a plastic Phantom-like mask.  His face isn’t the only thing that is scarred.  It’s his soul.

Mr. Wright’s world of heightened reality allows this fantastical Twilight Zone plot (which is beautifully staged – almost choreographed; sometimes in reverse) and gives him the opportunity to humorously skewer guns, health insurance, Florida, religious fanatics, computer tech support and exterminators, all the while examining the serious religious beliefs of his characters.

Mr. Ed Asner is the scene stealing Karl – a German exterminator of pesky Floridian bugs who is a true atheist referring to Steve and Sara as “Jesus freaks” and supplying most of the humor with his sad stories.

Paul Rudd is a charming believer in the extreme with his Elmer Gantry like fervor and talkative ways that could make you change your mind in an instant if you were not careful.  But he is so intent on his new scheme that his wife, who wants a baby desperately, seeks conversation and comfort with the withdrawn NASA scientist Sam next door which is in this reality the same apartment – sharing the same space.

Kate Arrington is the beautiful foil between these two men.  They are all on the same wave length thanks to director Dexter Bullard (who also directed LADY by Mr. Wright that I really liked at the Rattlestick Playwrights Theater – but I digress).

Mr. Shannon gives a controlled, understated and altogether moving performance.  He is a very special actor.  His scenes with Sara are spellbinding. 

The lighting design by David Weiner and sound design by Darron L West complete this intriguing production that I would urge you to see.

www.GraceOnBroadway.com  Through January 6^th.  Photo:  Joan Marcus

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