Oscar E Moore

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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Loni Ackerman returns to the METROPOLITAN ROOM for an encore engagement of her pitch perfect cabaret act  NEXT TO AB-NORMAL – Sundays at 7 – October 7,14,21,28.

Here is a reposting of my original review:

At the close of Loni Ackerman’s most engaging and entertaining new cabaret act – “Next to Ab-Normal” she sings James Taylor’s “The Secret O’ Life” after sharing her life and her philosophy of life with us for the past ninety minutes.  Ninety minutes that you do not want to miss.

Beautifully scripted and directed (Barry Kleinbort) and sung to perfection you’ll discover what makes Loni tick and talk and sing with heartfelt passion and humor.  It’s an original and totally charming evening.  A class act!  And you have three more Fridays to see her.  March 2^nd, 23^rd and 30^th at The Metropolitan Room, at 7PM.

Taking a deep breath, looking lovely in her black pants and slightly sparkly top (who needs sparkles when you naturally glow) Loni Ackerman with a calm and a confidence and a giggle sings “A Shine on Your Shoes” which is a wonderful way to begin.  Sharing her optimism and openness she then takes us on a journey of her life – so far.

A life that has included growing up on Central Park West hobnobbing with the very rich and famous – Bob Fosse, Gwen Verdon, Leopold Stokowski, the Black Panthers, Bagels and Bongos, Ted Kennedy and Nureyev (she still holds on to a piece of his intimate apparel) – and her family and not so famous friends where love and home are valued above all else.

A life told seamlessly with recollections that are funny, confidential and cozy with a wide variety of songs (great arrangements) under the incredibly smooth musical direction of Paul Greenwood on piano with Jeremy Clayton (Sax, Clarinet, Flute) and Tom Hubbard on bass resulting in a fresh new sound.

Just one of the highlights is her foray into songwriting while in Paris, “Come Back, My Love”.  Another, her New York Medley (I love medleys) and her salute to Andrew Lloyd Webber (She’s starred in Cats, Evita and Sunset Boulevard).

Remembering her good life with “Sentimental Journey”/”Journey to the Past”.  Remembering her first time “Blame It on My Youth” and remembering love above all with “All TheThings You Are”/”My Romance” and a gorgeous “Toys in the Attic”.

“Next to Ab-Normal” is truly a romanticists dream come true.  Loni’s dream.  Hopefully they’ll make a live recording of the show.  Mistakenly identifying her as Loni Anderson at curtain call Loni Ackerman, trouper that she is, handled the blip with great aplomb.

Photo: Alex Hering

www.metropolitanroom.com 34 West 22^nd Street 212 206 0440

And please take a look at Curtis M. Wong’s wonderful piece for the Huffington Posthttp://www.huffingtonpost.com/2012/10/04/loni-ackerman-next-to-abnormal-broadway-new-york-cabaret_n_1939825.html

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“They don’t write them like that anymore,” is a comment that is usually heard after seeing a revival of an old chestnut at The Mint, The Actors Company Theatre or The Peccadillo Theater Company.  And it can either be taken as good or bad.

But lo and behold, at the Theatre at St. Clement’s, Jeffrey Hatcher has written a very pleasant new play fashioned in the grand manner and in the best tradition of the comedies of Kaufman and Hart called TEN CHIMNEYS – a Peccadillo Theatre Company production under the astute direction of Dan Wackerman. 

Bravo! – for keeping the well made play tradition alive with a fresh and funny production that takes us into the private lives of that dynamic theatrical duo – Alfred Lunt and Lynn Fontanne – married and acting side by side as are the actors portraying them – Byron Jennings and Carolyn McCormick filling their shoes superbly giving exceptional performances.

At home on their estate in bucolic Genesee Depot, Wisconsin, Ten Chimneys – where they spent three months a year before heading out on tour in one of the many plays they became famous for.  Here they are preparing “The Seagull” with fellow cast member Sydney Greenstreet (Michael McCarty) whose infirm wife is in a nearby hospital and conniving newcomer Uta Hagen (Julia Bray) who shows up earlier than expected.

It’s a busy household.  Alfred’s overbearing mother Hattie Sederholm (Lucy Martin) fond of bright dresses and not so fond of Lynn – it’s no wonder see lives in a reconverted chicken coop – his frustrated half sister relegated as caretaker Louise Greene (Charlotte Booker) and half brother Carl Sederholm (John Wernke) who is fond of pool and gambling whose job it is to act as chauffeur.

There is an underlying, unsaid and unseen tension in the form of Alfred’s former college room mate Ray Weaver who happens to be visiting nearby.  How close were they?  A sore point that neither one wants to fully confront – they would rather rehearse. 

Which they do with hysterical results and some wonderful barbs and sarcastic remarks by the lovely Miss McCormick as the delicate English lady looking ravishing in the gowns supplied by designer Sam Fleming – married to the farm boy who still loves to garden. 

What a perfect pair together despite her jealously of the younger Uta playing Nina – a part that Alfred’s mother keeps reminding us she played.  The plot of “Ten Chimneys” mirrors that of “The Seagull”.

The handsome, elaborate and detailed set by Harry Feiner is excellent in its rendering of the Act I Pool Area circa 1937 and then the inside of the Studio (that Noel Coward calls home when there) for the second act.  The last scene of the play takes place 8 years later and perhaps they could figure out a way to make that scene change a bit faster?

The dialogue sparkles with wit, becoming quite serious towards the end.  You will learn something about their technique, hats, crying on cue and tips about make-up and timing.  And about how the Lunts stayed together as a team – on stage and off – despite their unconventional lifestyle which is only hinted at here.

Enlightening, charming and thoroughly entertaining.

Photos:  Carol Rosegg

www.thepeccadillo.com

www.tenchimneys.org

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“Restraint” is a word that is peppered throughout the new translation of Henrik Ibsen’s 1882 play AN ENEMY OF THE PEOPLE by Rebecca Lenkiewicz which is MTC’s newest production at the Samuel J. Friedman Theatre.

We hear the word over and over again.  Unfortunately, restraint has not been used by director Doug Hughes who has unleashed his actors and advised them to go full throttle in this uneven and cold rendering of this updated politics as usual play which is both dramatic in a melodramatic way and at times quite amusing but had me fighting to become involved.

It stars Boyd Gaines and Richard Thomas as the brothers Stockmann – Dr. Thomas (Gaines), a full of life and hyper energetic scientist who desperately wants to tell the truth about the toxic waters he has discovered that are polluting the soon to be famous spa that will bring untold riches to the town and Peter (Thomas) the cunning, stiff and smarmy Mayor of this small coastal Norwegian town who wants to keep his brother’s discovery secret.  The two couldn’t be any different in thought or manner.

At first the Dr. is supported by Billing (James Waterston) a reporter of the local newspaper – The People’s Messenger, its editor Hovstad (John Procacccino) and Aslaksen who is a printer (Gerry Bamman who all but steals the thunder from the two featured stars).  But then the Almighty dollar rears its greedy head. For if the truth is told financial ruin will be the fate of the town.

And so they all turn against him.  But he is a fighter – a strong and loud, stubborn and sometimes maniacal fighter who would risk losing everything in order for the truth to be known.   Will he?

This version is much shorter than previous productions.  And that’s a good thing.  As mentioned, the acting is somewhat over the top with screaming matches that sometimes take on the look of a “Silent Movie” – gestures signaling the spoken words of the arguments.

Petra (Maite Alina) the Dr’s daughter wishes she were a man so that she could better support her father.  His wife Catherine (Kathleen McNenny) doesn’t want to lose the financial security that she has finally been able to find and worries about her two other children (unseen).  Her wealthy father Morten Kiil (Michael Siberry) is the owner of a tannery that has caused the pollution – further complicating matters.  Their friend Captain Horster (Randall Newsome) is on his way to America and that sounds good to them all – up to a point.

With this fresh translation there are sometimes words that are too modern for the period and there is a smorgasbord of accents to go around.  We do not know if we are in Norway or Texas.  If we are back then or in the here and now.  It’s all very haphazard.

Another excellent set has been provided by John Lee Beatty.  There are some disappointing costumes by the usually excellent Catherine Zuber.  In particular, the outfit designed for the Mayor that has him looking very much like Reginald Van Gleason III.

www.ManhattanTheatreClub.com

Photos:  Joan Marcus

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Thank you Alexander Dinelaris for writing such a moving, powerful, heart wrenching, heartbreaking and completely heartfelt play.  Thank you to the New York Theatre Workshop for producing RED DOG HOWLS.  And thank you to director Ken Rus Schmoll for his beautiful and sensitive staging and for casting a trio of superb actors – Alfredo Narciso, Florencia Lozano and Kathleen Chalfant who is giving what could be considered the best performance of her illustrious career.

There is nothing like an extraordinary play to rekindle ones belief in theatre.  That theatre can be enlightening and meaningful.  There are certain productions that take you completely by surprise and make you realize the power that theatre holds.  Seeing RED DOG HOWLS is one of those instances.

The sound of a melancholy violin starts us off on a journey of Armenian history along with Michael Kiriakos (Alfredo Narciso), a thirty four year old writer married to Gabriella (Florencia Lozano) of Italian descent who is pregnant with their first child, attempting to deal with his absences to visit with his newly found grandmother and the resulting tensions at home.

Michael will speak to us directly many times from the three acting areas nicely designed by Marsha Ginsberg during the ninety minutes it takes to reveal a secret.  A secret that has to do with a pile of letters, nine to be exact, that he discovered after his father had died with instructions not to read them. 

Granting his father his last request he doesn’t but follows up on the address on those letters which brings him face to face with his ninety one year old grandmother – a tough, determined, physically and mentally strong and altogether sensible Rose Afratian (Kathleen Chalfant) who has suffered through the 1915 Armenian Genocide.

It takes a while for them to get to know one another and longer still for her to divulge the information that her grandson has come seeking.

RED DOG HOWLS is expertly written.  The story.  The structure.  The words.  The choice of words.  The play on words.  Their delivery.  The intelligence.  The humor.  The repartee.  All make for a most riveting theatrical experience.  One that you will not soon forget.

And then, the last monologue delivered by Rose – after months of nourishing Michael to strengthen him for what he must do – will have you at the edge of your seat, silence permeating the theatre, the sole sounds coming from Rose that will completely drain you emotionally.

The only other thing you need to know about RED DOG HOWLS is that you must see it.  No matter what.

www.NYTW.org   Photo:  Joan Marcus

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I suppose with all of the revivals being produced on and off Broadway this season we should be grateful for anything original, especially if it includes the American stage debut of Mr. Jake Gyllenhaal – who is terrific by the by.

IF THERE IS I HAVEN’T FOUND IT YET written by Nick Payne is an import from across the pond.  This production designed by Beowulf Boritt with pull-all-the-stops-out- overboard direction by Michael Longhurst includes the pond which lines the foot of the stage at the Roundabout Laura Pels where, when we enter it is raining heavily with a clump of furniture piled high center stage including a tub.  Pieces when used are discarded in the moat by each of the four characters.

Is there a way out of this mess? precedes the title and I was wondering the same during the 90 minutes or so drama without intermission, as it comes across a tad pretentious and one of the newest examples of the Theatre of The Absurd.

Here’s the lowdown:   The glum and morose Anna (Anne Funke) is being bullied and beaten up at school.  Her only friend is a bag of chips.  She is, needless to say, overweight and has been suspended because of an altercation.  Her frustrated mother Fiona (Michelle Gomez) teaches drama at the school (as if she doesn’t have enough at home) and is disliked.  Fiona’s unseen mum on the phone is suffering from dementia and calls often.  Husband George (Brian F. O’Byrne) is more interested in Global Warming and Carbon Footprints (he’s writing a lengthy tome about such) than his wife or daughter.

Enter the star – a big fish in a little pond – Jake Gyllenhaal as Terry, unlikely pot smoking brother of George who unexpectedly arrives supposedly trying to reconnect with the unseen Rachael.  He is a charming vagrant with a foul mouth full of obscenities and a ton of idiosyncrasies which include a jumpy leg and a tendency to pull up his trousers in rap  gangsta style.  He wants to help Anna and they form an unusual bond.

In a series of quick cinematic scenes this all unravels.  You’ll know when the end is near when most of the furniture is floating.  Are we all doomed?  Are we worth saving?  Is Global Warming responsible for not being able to understand a lot of dialogue due to the accents and lack of projection especially Anna with her hanky covering her bloody nose and soft spoken sullen approach?

Natasha Katz has done another fine job with her lighting which I hope is well grounded.

By play’s end it’s “water, water everywhere and not a drop to drink” which was my cue to head home for a stiff one.  Through November 25^th.

www.RoundaboutTheatre.org Photo:  Joan Marcus

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