Oscar E Moore

Your enjoyment of RELATIVELY SPEAKING, three one-act comedies by Ethan Coen “Talking Cure” – Elaine May “George is Dead” and Woody Allen “Honeymoon Motel” will depend entirely on your definition of comedy and what you find funny. 

You may have a change of heart after seeing these plays at the Brooks Atkinson Theatre featuring some very good actors including Marlo Thomas, Julie Kavner and Steve Guttenberg in some very mediocre material.

All three are loosely directed by John Turturro.  It appears that the writers and the actors progressively lose steam as the evening unfolds.

Ethan Coen’s darkly humorous play, “Talking Cure” deals with a Doctor (Jason Kravits) interviewing a Patient, Larry (a superb Danny Hoch) in a mental facility.  The patient is adamant that he has no problem even though he has had an incident with someone at the Post Office where he is employed.  It is extremely funny until we go to a flashback and meet Larry’s parents.  His mom is pregnant with him and all they do is argue about Hitler.  The final joke is one of the funniest of the evening.  SHORT INTERVAL

Danny Hoch & Jason Kravits

Elaine May has written a star vehicle for herself “George is Dead” and has cast Marlo Thomas in the part of Doreen.  Her husband has just been killed in an avalanche in Aspen and she has no one to turn to except Carla (Lisa Emery) the daughter of her old nanny (Patricia O’Connell). 

She arrives at midnight, knocking on the door looking like Charo, seeking comfort and refuge and some Brie cheese and insisting that Carla take the salt off the saltines.  She has never grown up and still acts like a spoiled rich debutante.  Carla has her own problems with her husband Michael (Grant Shaud) as she has missed going to an important speech because of her needful mother. 

All this is funny up to a point.  Then we begin to be bored by Doreen’s antics – she is unable to even make funeral arrangements.  Marlo Thomas, in a blond wig and pink frock is unrecognizable except for the trademark raspy voice.  Her comic timing is still spot on.  But by the time the body arrives we have long since given up caring and laughing.  INTERMISSION.

Marlo Thomas & Lisa Emery

The song, “I’m Old Fashioned” starts off Woody Allen’s “Honeymoon Motel”.  And it is.  I thought humor like this went out with The Show of Shows starring Sid Caesar.  In fact Mr. Caesar would have made a great Rabbi Baumel (Richard Libertini) wagging finger and penis envy jokes and Borscht Belt schtick et al.

Tuxedoed Jerry Spector (a great Steve Guttenberg) arrives at the Motel’s tacky and garish suite complete with spa and round bed with Nina Roth (Ari Graynor) in her wedding gown directly after he had interrupted her nuptials to his step son Paul (Bill Army) and run off with her.  She loves the much older Jerry, not Paul.  Judy Spector (an hysterical Caroline Aaron) is not amused but has the one other memorable funny line of the evening that deals with a bracelet and its inscription.

Ari Graynor & Steve Guttenberg

The parents of the bride Fay Roth (Julie Kavner) and Sam (Mark Linn-Baker) add to the farce which also runs out of steam, one-liners and sex jokes until the Pizza man arrives Sal Buonacotti (Danny Hoch) in another memorable performance who ties up the unwinding events with his philosophy of life – forgive and forget.

Which is exactly what I intend to do after posting this review.

www.relativelyspeakingbroadway.com  Photo:  Joan Marcus

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Joseph Douaihy (a remarkable Santino Fontana) and his brother Charles (an excellent Chris Perfetti) are gay, Lebanese, and distantly related to Kahlil Gibran author of THE PROPHET where the catch-phrase “All is Well” seems to be the panacea for every problem.

Playwright Stephen Karam has fashioned an interesting, low key, very funny and sometimes gripping new slice of life play SONS OF THE PROPHET dealing with pain and suffering after this tome which is directed in an almost lethargic manner by Peter DuBois.

The brothers live in Nazareth Pennsylvania.  Being gay is the least of the many problems plaguing these siblings.  In fact it isn’t a problem at all.  Charles is out but has problems hearing as he was born with one ear that has been surgically replicated.  He is open about all he does and says and hears. 

Joseph has knee problems, wears braces and limps.  Their father has recently died as a result of a heart attack brought about or maybe not by a car accident when Vin (Jonathan Louis Dent – “a mulato”) who on a dare put up a deer decoy which caused said accident. 

Joseph is also beset by a series of strange symptoms which has made him take a job at a small publishing company so that he can get health insurance coverage, run by a rich, deranged woman – Gloria (a wacky Joanna Gleason) who has a couple of bad habits:  drugs, showing up unexpectedly and receiving phony phone calls when she needs to avoid certain situations.  Her husband has recently committed suicide.

Uncle Bill (Yusef Bulos) uses a walker and has respiratory problems – traipsing around with oxygen tubes.  But that doesn’t stop him from wisecracking in the best politically incorrect Archie Bunker style.  He’s moved in with the boys and has a tiny downstairs bathroom where the door doesn’t close completely.

Joseph meets up accidentally – or is it? with reporter Timothy (Charles Socarides) at a bus station waiting for the snow to stop.  He is also gay.  They strike up a friendship.  Timothy wants to cover the “accident” and family connection to the author of The Prophet and Gloria wants to make her big comeback with its publication.

Vin has written an apology which is read aloud at a school board meeting that bleeds out into the audience in a very amusing scene with Lizbeth Mackay and Dee Nelson – but is it so that he can play on the team or is it heartfelt?  Is he also using the family?

Playwright Stephen Karam puts a lot on his plate.  Lots for the audience to digest.   It deals with many subjects – symbolic and otherwise.  You will think and feel and perhaps identify uncomfortably with all the suffering on stage.  Suffering that is peppered with satirical and not so subtle barbs with overlapping dialogue and very true to life situations. 

Laughter may be the best medicine and Mr. Karam seems to have us believe, and rightfully so, that to get through all the pain and suffering one has to have a sense of humor to survive. 

Extended through Jan. 1^st at the Roundabout Laura Pels Theatre.  www.roundabouttheatre.org

Photo:  Joan Marcus

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Quaint.  That’s the word that comes to mind to describe this “Time Capsule” production of A. R. Gurney’s CHILDREN which is based on a short story By John Cheever that is now running at The Beckett Theatre on Theatre Row home of The Actors Company Theatre, first produced in London in 1974.

Taking place in 1970 on the terrace of a large ocean front house in Massachusetts on the Fourth of July weekend, CHILDREN deals with the trials and tribulations of your typical Gurney WASP family.  Bloody Marys included.

Bleached wood, white wicker furniture and red geraniums by the sea offer tranquilly and calm.  Life there is ordered.  Neat.  There are rules to be followed.  Issues to be avoided. 

And so when Mother (Darrie Lawrence) five years after the death of her husband by drowning decides that she is going to marry “Uncle Bill” an usher at her wedding years ago and give the house to her three children – Barbara (Margaret Nichols) who is divorced and having a clandestine affair with the man who used to cut their lawn and is now a local builder and Randy (Richard Thieriot) a spoiled, whiney and testy man interested in getting the tennis court fixed who is married to a questioning Jane (Lynn Wright) and Pokey who works for the Department of Justice, is married to a Jewish girl whom Jane admirers and is described as a kook and someone who doesn’t wear a bra and allows their children to use four letter words and call adults by their first name things are put in a very minor uproar.  As WASPS will do.

Pokey, his wife and all the children of Mother’s children are never seen and never heard from.  Pokey, near the end of the ninety intermission-less minutes, is seen through the screen door as Mother has her face to face with him.  Sort of.

The production looks great thanks to scenic designer Brett J. Banakis, Lighting designer Bradley King and costume designer Haley Lieberman. 

Director Scott Alan Evans does his best to keep us interested even to the point of having a butt naked Randy.  The use of the instrumental “Cherry Pink and Apple Blossom White” is a nice touch but the problems facing this particular family seem to be mostly superficial until they begin to be honest with one another and then we connect.  Watching Mr. Thieriot and Lynn Wright struggling with their feelings is very satisfying. 

In fact watching all the actors come to terms with the oncoming changes in their lives makes CHILDREN worth a visit.  Especially when Mother lets loose her hidden most feelings.

www.tactnyc.org  Photo:  Stephen Kunken

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A tale of revenge told by a cast of twelve that sometimes seems to be thirty from the unbridled imagination of Justin Moran and Jonathan Roufaeal (Book & Lyrics) with a tuneful, jaunty score by Adam and Matt Podd make NIGHTFALL ON MIRANGA ISLAND a boisterous, hysterical cross pollination of Gilbert and Sullivan, Saturday Night Live and Monty Python. 

It’s the newest most fun to see musical.  Perfect for a Friday night date or a Monday night off trek downtown to The Magnet Theater 254 West 29 Street for all those otherwise engaged on stage during the week.  In short, everyone who loves theatre and each other should see MIRANGA.

The only thing missing is a parrot in this original off beat pirate saga, directed by Mr. Moran, that has Declan Bruntfodder (Travis Nilan) and his faithful to a fault Manservant Balric (Jonathan Roufaeal) on a quest to find the evil LaFoe (Jamie Cummings) who ten years past killed Declan’s dad and kidnapped his sister whom he wants to rescue.

King Azahd (Jon Bander) head honcho of Miranga Island is also searching for LaFoe as is the Bandit in Black (Liz Bachman) epee in hand.  There are wenches (Claire Neumann & Robin Rothman) an oat meal eating Guard (Ryan Nelson) a love interest for Declan named Clara (Molly Moran).  A blind, one eyed Colossus (Jon Bander).  The imprisoned Rebecca (Elana Fishbein).  A Gravedigger (Justin Moran) and the horniest, funkiest blacksmith ever conceived Grizwald (Nick Kanellis) who just happens to have a show stopping song entitled aptly enough “The Blacksmith Song”.

Mr. Moran seems to have created his own rep company of improvisational actors as many of them have joined him in Pope! An epic musical and The Spidey Project both of which I have seen and loved.  I consider myself a charter member of the Justin Moran/Jonathan Roufaeal fan club.  Not only do they write these fun musicals but they faithfully engage some of the best talent around. 

The opening number “We Sail” sets the tone beautifully and soon has the audience engaged in laughter.  Then the lovely and amusingly touching “It Should Have Been Me” – followed by “I Have Found You” a wonderful silly trio and the rollicking “The Blacksmith Song”.  The Finale sort of ties up the story without answering too many left over questions “Story For Another Day” and leaves you smiling and happy to have seen NIGHTFALL ON MIRANGA ISLAND.

Although the entire cast is first rate, Elana Fishbein carting around her jail cell and her characterization of Rebecca is priceless.  There really is an improvisational atmosphere here and it is infectious.  It’s great seeing the scene changes and what happens when something happens that isn’t supposed to happen and how well it is incorporated.

The incredible swordplay and fight choreography is by Dylan Giannunzio, aided by some nifty dances by Liz Bachman and Diana Yourke and lighting design by Jake DeGroot which does so much with so little. 

Friday and Monday evenings at 8:30 at The Magnet Theater through December 19^th.  Tickets General Admission $18.00  Students $10.00 and anyone dressed in full pirate attire.

www.magnettheater.com

www.compasstheatrical.com   Artwork:  Mike Short

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Frank Langella.  Is there any other actor who can portray Gregor Antonescu, the vile financier, a man with no conscience, a man who is as charming as can be on the surface but hiding the manipulative viper just beneath as well as Frank Langella in the 1963 Terence Rattigan revival of MAN AND BOY at The Roundabout American Airlines Theatre?  I think not.

As he strides around the Greenwich Village basement apartment of his long ignored son Basil Anthony (a fine Adam Driver) where he is seeking sanctuary from the prying press and orchestrating a meeting with the President of a major company – Mark Herries (Zach Grenier) with whom he is seeking a merger and Herries’ accountant David Beeston (Brian Hutchison) who has discovered vast discrepancies halting the merger and sending Antonescu’s stock plummeting, Mr. Langella is all smiles and charm in his double breasted, impeccably tailored suit. 

Meticulously clothed.  Focused.  Concentrating on getting exactly what he wants.  Even if it means baiting the homosexual Herries with his own son to get the deal done and keep him form being arrested and ruined.  Nice guy.

He’s hateful, but how wonderful to watch Mr. Langella portraying him under the eye for detail director Maria Aitken.  A glance.  A pause.  A flick of the cuff.  So confident.  So sure of himself as he side tracks one and all.  All make Langella’s performance worthy of our attention and attendance even if the play is a bit creaky.

MAN AND BOY takes place in 1934 but resonates with today’s Bernie Madoff scandal and the relationship and suicide of his son and what if anything the people surrounding Madoff – especially his wife – knew of his duplicitous dealings.

In Act II we meet Gregor Antonescu’s wife, the Countess Antonescu – his ex secretary who wears expensive jewelry and enjoys the good life but falls apart when faced with disaster.  She is played with brittle charm by Francesca Faridany and if I didn’t know better I would have sworn it was Jane Seymour.

His right hand man/body guard Sven Johnson (Michael Siberry) is always ready to light the cigarette, pour the drink or offer the gun when warrants are issued for Gregor’s arrest even though Gregor has the nasty habit of looking right through him or ignoring him completely.  One wonders why people put up with such behavior.  I guess the pay is good.

Also we wonder why Basil after being ignored for so long – his father had even declared him dead – shows such affection for the man.  Even his girlfriend Carol Penn (Virginia Kull) is seduced by his utterly charming ways.  As we all are.

Does he escape or kill himself?  Guess…      www.Roundabouttheatre.org

Photo:  Joan Marcus

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GREENWOOD, an original new musical by Tor Hyams and Adam LeBow (Book,Music & Lyrics) is pleasant enough with its happy tunes and its feel good message that it’s never to late to follow your dream.  It boasts a fine cast of singers but is burdened with a much too complicated plot where a lot of excellent ideas are struggling to emerge.

It takes place at a summer camp called “Greenwood” up in the Catskills circa 1986 where drama queens and kids looking to fit in somehow sing and dance to their hearts content.  Friendships are made and talents are discovered.  It is a place where most everyone had the time of their lives.  That’s just part of the story directed and choreographed by Paul Stancato.

Flash forward twenty five years and we discover the same group of kids now grown up and mostly unhappy especially Adult Sheila (Andrea McArdle the original Annie and still sounding great) living a safe life but regretting what could have been and remembering all the good times she had at Greenwood.  So she gets on Facebook, planning a reunion of all her fellow happy campers.

We then go back and forth following sub plots and sub sub plots and sub sub sub sub plots trying to figure out who this show is really about.  There are simply too many detours. 

The creators, trying to find a balance between the present and the past, are only partially successful.  Some hard rethinking and restructuring might help immensely and get them back on the right road, discovering the strongest through line and cutting the clutter.

It is Adult Sheila’s story?  If so, we do not get enough of Young Sheila (Jenavene Hester).  Or is it Alex and Zoe’s relationship that is most important?  It seems to be and all four actors are excellent (Young Alex /Andrew Redlawsk – Adult Alex/ Cary Shields Young Zoe/Alicia Morton – Adult Zoe – Mary Mossberg). 

And what about Young Daniel (a top notch Bryan Welnicki) who has a great song – “Wings of Fire” who then disappears for the reunion, replaced by Sam (Ben Nordstrom) only to show up later as a mysterious man/Adult Daniel (Daniel Blinkoff)? 

Or is the flamboyant dancer Jeff (Young- Jacob Liberman Adult – Patrick Boyd) the obviously gay guy longing for Alex too important?

As the best friend of Alex (Nick Dalton as Josh) comes on strong as he persuades him to go to the reunion as does Zakiya Young as Stacey who performs the same function for Zoe.

The heavy set son of the owner of Camp Greenwood steals the show.  Both as Young Ronald – Christopher Brent Davis and Adult Ronald – Jayden Lund.  They provide most of the comic relief.

Andy Gale as Gary the Camp Director does an excellent job in getting the heartfelt  messages of following your dreams and doing your best that Hyams and LeBow obviously feel very strongly about which is summed up in the very Kander and Ebb type number “Do A Musical”. 

Part Glee, part Follies GREENWOOD has to find its own identity.  It already has its soul.  The final image of the Adult /Young characters standing side by side is probably GREENWOOD’S best remembered moment.

www.nymf.org            www.greenwoodthemusical.com

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Two strangulations.  A suicide.  Incest.  Treachery. War.  After-life.  And lots and lots of drums being beat sums up Marcus Hummon’s TUT.

This is the third musical by Marcus Hummon (book, music, lyrics) that I have seen over the years at NYMF.  WARRIOR and THE PIPER were extremely impressive and so I was looking forward to seeing TUT at The Theatre at St. Clements.

TUT is a strange combination of theatrical parts.  A dance/performance piece – mostly sung through it sometimes sounds operatic; sometimes – Yanni meets Carmina Burana.

The choreography by Abdel R. Salaam (artistic director of Forces of Nature Dance Theatre) mirrors in stylized dance movements what the narrator of the piece – the British archaeologist Howard Carter (an incredibly strong Sean Maclaughlin) describes as he searches for the long lost tomb of King Tutankhamun while we see Tut’s tragic short life and after life unfold.

TUT is a bold and ambitious attempt.  Grammy Award-Winner Marcus. Hummon has gone way beyond his comfort zone here.  Which shows his desire to grow as an artist.  But this score or song cycle assaults the ears with a tsunami of sound.  It seems that the mantra of loud, louder, loudest has taken over the production.  I kept waiting for a quiet, beautifully melodic moment to emerge from the rhythmic beating of the drums and disappointed when none came.   Where is the mystery that is Egypt?

The cast has some remarkable singers.  The already mentioned Mr. Maclaughlin who has the most difficult job of holding the production together while creating a fully realized character as he recounts his journey of discovery.  He is confident and has a tremendous voice and presence.

Curtis Wiley brings Tut to life with his soaring tenor.  As the evil uncle Ay, Jesse Means surprises every time he sings with his deep resonant basso.  And then there is the beautiful N’Kenge who portrays Ankhesenamun, Tut’s sister and wife, with sensitivity and a voice that whose range reaches stratospheric heights.

TUT is a most interesting undertaking that is not altogether successful as of yet.

www.nymf.org Photo:  Jeff Larkin

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Angela Bassett and Samuel L. Jackson give electrifying performances, igniting the dialogue and setting the stage of the Bernard Jacobs Theatre afire in the provocative, wildly imaginative, extremely funny and poignant new play THE MOUNTAINTOP by Katori Hall.

It is April 3, 1968 the day before Dr. Martin Luther King, Jr. (Samuel L. Jackson) meets his death.  He has just given a rousing speech in support of the striking sanitation workers in Memphis, Tennessee and has come back to the Lorraine Hotel, Room 306 wet, tired and coughing where he attempts to come up with some inspiring words for tomorrow’s oration while removing his shoes, revealing a hole in his sock and stinky feet while waiting for a friend to bring him a pack of Pall Mall cigarettes.  Impatiently he calls room service for some coffee. 

Camae (Angela Bassett) is there in an instant.  At once impressed but unafraid of Mr. K.  She is sassy and brazen and extremely pretty as he repeatedly points out.  It’s her first day on the job and she is at odds on how she should act and unable to control what comes out of her mouth.

What does comes out are some sparkling, insightful and riotously funny comments supplied by Ms. Katori, the playwright who has written a fine new play dealing with the most sensitive of subjects, God and mortality included, in a fresh and delightful and most very serious way.

Mr. King is depicted as all man here and not a Saint.  And Mr. Jackson has refined his oratorical skills while exposing the inner turmoil and thoughts of a person who has received death threats before but is in no hurry to meet his maker as he still has lots to accomplish.  A few lies here and there notwithstanding.

When he asks Camae what she would say if she were in his shoes, there follows a show stopping sermon that is as wise as it is full of wise cracks and has the audience in a frenzy as if at a revival meeting.

It’s obvious why Mr. K is so attracted and intrigued by this maid who has the nerve to spar with him as an equal.  It is so unexpected and so funny that you will wonder how this will all play out.

Well, I am not at liberty to divulge that.  I will only say that there is an abrupt change in the tone of the play when Camae calls Mr. King by his original name – Michael.  This radically sets the play off into another direction entirely.  A change that might invigorate, enrage or be hard to accept.

THE MOUNTANTOP is skillfully directed by Kenny Leon who has supplied a spectacular and inspirational finish with scenic and projection design by David Gallo, lighting design (Brian MacDevitt) incidental music (Branford Marsalis)  and of course Ms. Katori and Dr. Martin Luther King, Jr.

It was Mr. Leon who brought us the brilliant FENCES last season.  Lightening has certainly struck twice with this production.

www.themountaintopplay.com  Photo of Theater Marquee: SPATE  Photo:  Joan Marcus

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Fragmented.  Contrived.  A gay take on Our Town.  THE BUS by James Lantz has pulled up for a short run through Oct 30^th at 59E59 Theater C which might be mistaken for a prop closet and not a space to perform plays.  Especially one with six characters that are so close as to make you feel extremely uncomfortable.  Which might be the point.

Two gay teenage boys Jordan – who has only one thing on his hormonally charged mind (the adorable Bryan Fitzgerald who has great natural instincts as an actor) and the quirky Ian (Will Roland – reminiscent of a young John Ritter) sneak off nightly or whenever they can to kiss and have sleeping bag sex in an abandoned bus that has been on Ian’s dad’s property for 15 years.

His angry dad, Harry (Travis Mitchell) runs the local Texaco gas station along with Sloat (Robert Nuner) a drinker and a plot point.  Harry is divorced from his ultra religious wife Sarah (Kerry McGann) who is in ultra denial about her son Ian.  With parents like these it’s easy to see why Ian needs to escape.

It is only now that Harry wants the bus removed.  We find out the real reason, far into the 85 minute saga – which might have made for a more interesting play.  The Golden Rule Church – of which they have many – objects as it has served as its landmark all these years.  Lawyers are brought it, the gas station is boycotted and then matters get explosively out of hand.

Jordan’s young sister – The Little Girl (an amazing Julia Lawler) acts as stage manager, I mean narrator in this Our Town like telling of the tale of the two teenage lovers where she sets up the situations and becomes the voice of many characters – all successfully.  She knows her brothers “secret” as Jordan has spilled the beans to her and he is not afraid.  Ian is.  Although no one bullies them ever, Ian is simply afraid of being found out.

There are too many spoilers here to go into.  And most don’t make much sense anyway.

Director John Simpkins does a fine job considering the script and the space. The simple set by Michael Schweikardt does its job well and the original music by Michael Shaieb is superb as are the atmospheric sound effects.

It is only in the last twenty minutes that the story starts to take hold and you begin to care about the two boys.  But it’s a little too late to make you want to jump on board The Bus and go along for the ride.

www.59e59.org.              www.thebustheplay.com

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Billy the Kid was just a scruffy juvenile delinquent trying to find his way through life.  To help him succeed his parents gave young Billy a Colt .45 for his birthday, instructing him to point and shoot and kill a rabbit.  Kill or be killed.  Rule number one for survival. 

Rule number two.  Steal to stay warm.  Billy (Corey Boardman) robs a coat landing him in jail where he meets Pat Garrett (an imposing David Murgittroyd) who comes up with a “plan” to escape.  They become buddies.  And meet up with Chavez (Justin Gregory Lopez) Charlie (Antonio Addeo) Tom (Travis McClung) and love interest Celsa (Isabel Santiago) forming a gang that is on the run.

The rest is fictionalized history with a pop/rock spin in the new musical “Outlaws:  The Ballad of Billy the Kid” now running at the McGinn/Cazale Theatre as part of NYMF written by Perry Liu, Alastair William King and Joe Calarco which literally starts off with a bang, the death of Billy at age 21 and the recurring song “That’s What They Said” which might be truth and might be legend.

They are rock stars of the sagebrush on the loose.  Stomping and wailing to a pretty good score with nice specific lyrics, fists in the air and venting all the pent up anger that is ready to explode they sing their way to California where they believe they will finally belong and be safe and where they can do whatever they want.  Just doesn’t work out that way after Billy points and shoots and kills someone. 

Jenn Rapp stages this rock show like a game of hide-and-go-seek spicing the action up with some sexy dance routines.  But the book often falters.  It’s too consolidated and doesn’t allow the characters to breathe enough between songs.  Having the actors double also causes some believability problems.

Corey Boardman is the perfect Billy.  Wired and angry and sexy and longing for a better life he is pulled in all directions becoming a “celebrity” in the process.  His duet with Celsa “A Place in the Sun” is a lovely respite from the otherwise heavy rock score.

Travis McClung does an excellent job mining the humor from his naïve, wanna-be-tough gang member.  His recollection of his first time with a prostitute is over much too quickly and he brings true feeling to his role.

“Outlaws” has some of the best gun shot sound effects and harmonica playing that adds great authenticity to the production that is told in flashback with heart pounding, frenzied songs that are sometimes beyond the range of those singing them in true rock idol fashion.

www.nymf.org                     www.outlawsrockmusical.com

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