Oscar E Moore

Not only have Amy Estes and Lenny Leibowitz taken on the mammoth challenge of starting up a new repertory company (MARVELL REP) which is now presenting four productions at the Abingdon Theatre on West 36^th Street but they have chosen four challenging plays to mount.  Not an easy task.

Nora by Ingmar Bergman.  In the Shadow of the Glen by John Millington Synge.  Blood Wedding by Federico Garcia Lorca and The Dybbuk by S. Ansky.  All but the Synge plays have been translated – for better or for worse.  And all four feature female protagonists.  Women subjugated by the men and mores of their respective time periods.

BLOOD WEDDING is an odd play and an even odder choice for a fledgling company to stage – where natural events meet up with the moon, metaphoric songs, knives, lots of anger and angst.

Mr. Leibowitz has done his best to hold the piece together by framing it with an excellent flamenco guitarist (Mike Rosengarten) playing original music by Adam Knauss which adds appropriate and beautiful underscoring to many of the episodic scenes and scene changes in this ninety minute tragedy.

A tragedy that unfortunately has too many different acting styles on stage for its own good.

From the strong Medea like performance of Lorraine Serabian who is the very angry mother (a mother who hates the family of the woman that her only son has asked to marry as they murdered her husband and his brother) to the all too contemporary bridegroom (Nicolas Greco) to the beautiful naturalness and magnetic performance of the bride (Evgeniya Radilova) whose authentic accent only puts undo emphasis on the others who haven’t one.

The bride to be was in love with Leonardo (Hamish Allan-Headley) who has come back into her life as she is about to wed.  He still loves her and they run off together which doesn’t lead to a happy ending for anyone.  Especially his pregnant wife (Stephanie Lynne Mason) and their baby.

BLOOD WEDDING is a difficult piece to pull off and Marvell Rep hasn’t quite found their rhythm as a rep company yet.  But they are just getting started and must be commended for their courage.

With THE DYBBUK, Lenny Leibowitz and his company of twenty two actors have hit their full stride with a powerful and mystical production of this play which deals with a pre-arranged wedding that goes awry.  Never has so much been done with so little.  It is an amazing accomplishment.  It is compelling theatre at its best.

The stark and simple set (Tijana Bjelajac) works exceedingly well with the rearrangement of a table and benches and an upright cabinet where the Torah and Holy Scrolls are stored.  The excellent lighting design by Nicholas Houfek adds to the overall mystical atmosphere.  The staging by Mr. Leibowitz is fluid and cinematic and holds your attention throughout.  He is aided by choreographer Gabrielle Orcha who has managed to make this small space explode with some fine dances – never making the stage appear to be overcrowded.

The costumes by Susan Nester in shades of grey black and white perfectly evoke the time and characters. Less is certainly more here.

You will be riveted by the story, the way it unfolds and the fine acting abilities of this new repertory company.  The use of a highly original score by Adam Knauss played beautifully by Tareq Abuissa on Cello and Alex Spangher on Bass is spellbinding.  How daring to use live musicians and how wonderfully they add to the piece.

Mr. Leibowitz makes some bold choices in all four productions.  Here he has cast a woman (Loni Ackerman) as the messenger – empowering a woman in this world where men dominate is a daring choice that pays off.  As if in a trance, as if channeling the messages that she is delivering Ms. Ackerman is stoic and in control as she delivers the words – almost omens of things to come – appearing as an other worldly figure that never intrudes but whose presence is always felt.

The strikingly beautiful and excellent actress Rachel Claire is Leye the daughter of Reb Sender (a fine Marc Geller) who is to be married to someone rich.  Someone chosen over many others including the man that Leye truly loves – Khonnon (a superb Perri Yaniv).  A man who falls dead upon hearing the news of her marriage and who returns to inhabit the body of Leye as a dybbuk, reclaiming her as his pre-destined bride.

All of the cast members should be mentioned for excellence.  But I have to single out just a few.  Jerry Matz, who adds just the right touch of humor to his roles, Barbara Spiegel as Leye’s granny, Ava Eisenson who always grabs your attention and the outstanding William Metzo as Reb Azrielke who attempts to rid the dybbuk from Leye.

Congratulation are due to one and all.   The Dybbuk runs through April 3^rd and you should make every effort to see it.  Mazel tov, Marvell Rep! 

www.marvellrep.com

Tags: No Comments.

The many musical selections of 60’s hits chosen by director Michael Bush that either aid the many clunky scene changes, introduce a scene or comment upon a scene – which include “What The World Needs Now” (is love sweet love), “These Boots Are Gonna Walk All Over You”, “Help!” And “I Got You Babe” in the revival of the Abe Burrows comedy based on a French farce by Barillet & Gredy “Cactus Flower” while nice to hear, hit you over the head with sledgehammer force as to what is going on and interfere with the natural rhythm of the comedy.  Let the comedy speak for itself, however dated it is.

In order for this farce to work the characters have to be believable and believe in what they are saying and must have great comic timing which seems to be abundantly absent here.  

We never believe that two women – the spinsterish dental receptionist to Dr. Julian Winston (Maxwell Caulfield), Stephanie Dickinson (Lois Robbins) and his young mistress Toni Simmons (Jenni Barber) could be so infatuated with the lying lothario Dr. Winston.

Nor do we believe that Toni remotely likes her next door neighbor, a beat-nik writer Igor Sullivan (a bland Jeremy Bobb) who initially saves her from her attempted suicide (by over cooking her chicken cacciatore and leaving on the gas.)

Dr. Winston has told Toni that he is married in order not to marry her, but after her attempted suicide he changes his mind – and promises to divorce his wife.  Only Toni wants to meet the wife who doesn’t exist and so he enlists his receptionist into portraying his wife which leads to all sorts of supposed comical situations.  Which here, rarely pay off.

Mr. Caulfield looks like a bored, stilted, posturing John Wayne instead of the charmer that should charm these two women and us into believing him.

Unfortunately, Ms. Barber has been coaxed into believing that she should follow in the footsteps of Goldie Hawn who won an Oscar for her cinematic portrayal.  Maybe she should have been told that Brenda Vaccaro originated the role and is nothing like Goldie but also extremely funny.  Or perhaps she should have made the role her own.

Lauren Bacall was the original Stephanie and most probably kept the show running with her star power back in the 60’s along with the really charming Barry Sullivan and Ms. Vaccaro.  Lois Robbins has none of the sarcasm and irony that make the lines of this farce sparkle.  Instead of the effervescence of champagne we get the fizzle of a flat bottle of beer.  She does however, by plays end, blossom as does the cactus plant that she keeps on her desk.

The jokes are punctuated with an almost audible ba-da-boom! which only accentuate the most heavy handed line readings as though no one would get their effect without such emphasis.

The cast includes some one dimensional stereo-typical characters:  a hyper sexed older woman Mrs. Durant (an almost embarrassing Robin Skye) a married Cuban diplomat Senor Sanchez (John Herrera) pursuing the receptionist and an obnoxious actor, Harvey Greenfield (Anthony Reimer) whose girl friend Botticelli’s Springtime (honest, that’s her name) played by Emily Walton, needs dental work. 

Perhaps this all worked in Albany last year at the Capital Repertory Theatre where Mr. Bush was producer and director.  Not in Manhattan.  Instead of what could be 14 Karat gold we get 24 Karat lead.

At the Westside Theatre Upstairs.   www.cactusfloweronstage.com  Photo:  Carol Rosegg

Tags: No Comments.

Musty set.  Musty play.  That about sums up this relic of a revival of That Championship Season which back in 1972-3 won the Pulitzer Prize and Tony Award.  Hard to believe that this time capsule of a group of “lost boys” deserved such praise.

The action, of which there is very little, takes place in the living room of Coach (Brian Cox).  No name.  Just Coach.   It’s reunion time, once again, for the four members of a basketball team that Coach, coached to victory twenty years ago in the Pennsylvania State Championship game. 

The fifth member, Milton, has always been a no show for reasons that are revealed and are supposed to shock.  What does shock is the hypocrisy, shallowness and rampant racism that permeates the play written by Jason Miller.

Last season Gregory Mosher directed another play written by a Miller.  Arthur Miller.  It was an astounding A View From the Bridge.  I guess it’s a question of what the director has to work with.  It’s slim pickings this time around and it moves at a snail’s pace.

Coach has a recording of the final moments of their victory on a LP record.  Long Playing.  And that’s just what this production is.  Tiresome, dull and long playing. 

The first extremely short act ends abruptly.  Act II continues exactly where Act I left off.  Why an intermission?  Probably to refill the bottles of scotch and replace the bottles of beer that they all swill during the performance so that they can loosen up, vent their pent up anger, reveal some secrets and play their version of “the truth game” – somewhat like a straight version of The Boys in the Band (1970) – where there was at least plenty of humor.

We meet the team much older now but still acting like the locker room fools they were and continue to be.  One is the town’s Mayor – George Sikowski (Jim Gaffigan) looking to get reelected.  His opponent is described as a Jew with charisma.  Phil Romano (Chris Noth) who has plenty of bucks is thinking of switching his allegiance and support to the Jew.  He is also having an affair with George’s wife (who did it to get financing for her husband’s campaign). 

Aide to George is James Daley (Kiefer Sutherland) a meek high school principal who fears that they will replace him.  His drunken and really lost brother Tom Daley (Jason Patric) as portrayed seems to be hiding his own secrets with his feminine like gestures and bitchy, funny and truthful observations.

While all these bankable stars do an adequate job sparks rarely ignite and the show doesn’t ever soar.  They might as well be reading the Pennsylvania telephone directory.

Coach’s mantra has always been to play by the rules (his rules) and to win at any cost.  But that hasn’t worked for this group of lost boys that seem to have never matured – at least this time around.

Photo:  Joan Marcus

Through May 29^th.    www.thatchampionshipseason.com  Bernard Jacobs Theatre

Tags: No Comments.

Adam Chanler-Berat & Christian Borle

The big question isn’t how an orphan boy in Victorian London who hated adults and didn’t want to grow up came to be Peter Pan, it’s will you have a frolicking fun time finding out?   The answer is a resounding yes.

Three immensely imaginative men Rick Elise (text), Roger Rees (Director) and Alex Timbers (Director) have put their collective creative heads together, pooled their most basic of resources and have fashioned a frenetic, fast paced, witty play with music (Wayne Barker) for adults over the age of eight called “Peter and the Starcatcher” based on the novel by Dave Barry and Ridley Pearson – Peter and the Starcatchers.

It’s a little bit of Nicholas Nickleby that starred Mr. Rees, a little bit Bloody Bloody Andrew Jackson – which Mr. Timbers brought to life with an English Music Hall, fractured fairy tale, frat boys will be boy’s sensibility that could very well be called “A Tale of Two Trunks” – where alliteration abounds and astounds.  You’ll want to see it twice, at least, to catch every single joke both aural and visual.  The use of nautical rope, aluminum steamers and a yellow rubber glove tweak our imagination.

The text by Mr. Elise is delicious.  Chock full of jokes and puns, made up words (Norse Code – nonversation) and off the wall characters that bring to mind Lewis Carroll and the Marx Brothers.

Some trimming of the first act which sets up beautifully the second might make the show a bit tighter.  It is in Act II that all the elements come into play and pay off and we see the development of Peter (a fine Adam Chanler-Berat) and his relationship/rivalry with the strong-willed Molly (Celia Keenan Bolger) blossom and his coming to terms with his nemesis Black Stache (an incredible Christian Borle).

Christian Borle.  What an amazing, maniacal, comedic performance. With his painted on mustache, rubbery body and perfect timing one cannot get enough of him as the “ruthless, heartless, peerless and a bit Nancy” Stache.  He’s pure genius.

Correcting his every misused word is Smee (a delightful Kevin Del Aguila).   Lord Aster (Karl Kenzler) Molly’s dad tries to keep the trunk containing the magical star substance out of the hands of Stache and his fellow pirates.  They eventually all wind up on some Mollusk Isle after being shipwrecked where fish have become mermaids after being exposed to the magical star stuff.  They wear some of the most incredibly clever costumes ever seen by Paloma Young.

Molly’s nanny, Mrs. Bumbrake, is portrayed by the irresistible Arnie Burton who has a fling with one funny pirate named Alf (Greg Hildreth).  As Captain Scott, Brandon Dirden garners our full attention.

All the frenzy and clever quips resolve in a most heartwarming and tender ending.  It’s an incredible “shiver me timbers” adventure.   www.NYTW.org

Photo:  Joan Marcus

Tags: Comments Off on Peter and the Starcatcher – Peter Pan prequel at New York Theatre Workshop

From the moment Frances McDormand (Margie) speaks in David Lindsay-Abaire’s tragic-comedy GOOD PEOPLE now at the Manhattan Theatre Club’s Samuel J. Friedman Theatre you know she’s a no nonsense talker – with a South Boston accent – a blue collar worker, a woman with a wise crack for every occasion with low self esteem, a woman who feels uncomfortable in most any situation and who has a chip on her shoulder, and is desperate.  And ready to fight back.

She needs a job – being that she has been just fired for being late over and over again from her Dollar Store job by Stevie (Patrick Carroll) who is afraid to be fired for not firing her.  A man who loves Bingo (does that mean he’s gay?) and whose unseen mother plays the part of a pivotal running joke – as does he.

Drama or melodrama?  Do these characters make sense or not?   Do we care or who cares?  If you are a Bingo addict or care for hand crafted rabbits GOOD PEOPLE might be for you.  I don’t mean to be glib but there are a lot of holes here and they are not dug by rabbits.  Mr. Lindsay-Abaire is responsible for those.

Margie has a daughter who is not normal.  She was born “premature” and Margie has a tough time paying the rent to her landlady Dottie (an eccentric, lovable Estelle Parsons) and finding someone to tend her child (an equally odd Renee Elise Goldsberry) who suggests that she look up her old flame Mike (a perfectly acceptable Tate Donovan) who has become a successful Doctor (was it pure luck?) and has recently moved back to the hood in the hope that he can find her employment instead of settling for employment at Gillette.  If only she just took the job at Gillette.

In any event she doesn’t and pursues Mike like a panther.  First at his office, where she has problems with the unseen receptionist and then speaks with him at length (has he no patients?) and examines the family photos – going on about how “young” and “pretty” his wife is. 

Mike is reluctant to offer her a job no matter what but is coerced into inviting her to his birthday party that his wife is planning which is cancelled which Margie doesn’t believe and that leads us into Act II.

They grew up together and he moved forward and she didn’t.  They were an item.  Is she doing all this to get back at him or not? Does it shock you that the all too accepting and sensible wife (Becky Ann Baker) is the daughter of a successful Afro-American?  Will Margie spill the beans about the true nature of Mike?  Will the one glass of wine escalate into a game of truth?  Will Margie break the insured vase?  Whose premature baby is it anyway?

I was disappointed to say the least with this production guided by Dan Sullivan.  The various sets by John Lee Beatty have you asking more questions.  How are these set changes done so quickly?   It seems they want to wow you with the visuals and not with the words (that sometimes Ms. McDormand trips over).  Words that are sometimes funny, sometimes moving, sometimes woeful and sometimes contrived.

www.manhattantheatreclub.com      Photo:  Joan Marcus

Tags: No Comments.

Tom Hewitt & Noah E. Galvin

Patience and perseverance, buried treasure, and a whole lot of talent pay off in B. H. Barry’s extraordinarily imaginative production of Treasure Island adapted for the stage by Vernon Morris and Mr. Barry based on the novel by Robert Louis Stevenson now running at the Irondale Center in Brooklyn.  However you get there, get there. 

Mr. Barry has believed in this project and has been developing it for over twelve years.  He is a master fight director and he has now graduated into a master director.  This is a first rate, beautifully produced; highly theatrical version of the story of a young lad Jim Hawkins (a phenomenal Noah E. Galvin) who becomes a man and in the process meets up with pirates, swordplay, storms and high seas and death – learning about trust and friendship in the process.

Without a strong and magnetic Jim Hawkins this narrative would have sunk.  Luckily enough Mr. Galvin shines in the part.  He is young and smart and willing to learn the ropes.  He tells us his story and we listen intently.  He gradually matures before our eyes and we care for him as he cares for the ruthless, one legged con artist Long John Silver played to the hilt and then some by Tom Hewitt.   Commanding the stage as equals they are a perfect match.

This is not a small production.  Thirteen actors.  And a live parrot (Maui) for good luck.  As if the needed it.  It is expertly acted by all.  You will be enthralled by Black Dog and George Merry (Michael Gabriel Goodfriend).  You will be awed by Blind Pew and Ben Gunn (Tom Beckett).  Amazed by the transformation of Ken Schatz as Chanteyman who sings as the episodic scenes change, and then becomes Mrs. Hawkins and then Redruth.  And revel in the hubris and humor that Kenneth Tigar adds as Squire Trelawney.

Every member of this impeccable cast sets the story in motion and keeps it moving with four platforms on casters.  Ropes hang from the ceiling.  There is a large mast with rigging that the actors ascend.  Barrels of rum.  There are musket shots and cannon shots and the smell of gun powder in the air.  There is fog and the sound of the seas and lightning and some of the most incredible fight scenes ever staged.  Up close and for real.  One slip and it’s over.  Mr. Barry is not called a master for nothing.

The set by Tony Straiges fills the Irondale Center perfectly.  The elaborate period costumes (Luke Brown)enhance as does the lighting design by Stewart Wagner. 

Treasure Island is an incredible adventure as seen through the eyes of a young man.  It is a majestic tale that has been given a superb and exciting production.  Bring the kids, just beware of low flying parrots.

www.Irondale.org  Through March 26^th.  Tickets  $20 – $45

Photo:  Ken Howard

Tags:   B. H. Barry · Noah E. Galvin · Tom Hewitt · Vernon MorrisNo Comments.

How many people are willing to take on the responsibility of setting up and running a full fledged repertory company in today’s fragile New York theatrical environment?  Two.  Their names are Amy Estes and Lenny Leibowitz.  Bravo!

Mr. Leibowitz is also directing the four plays scheduled in the first season of the Marvell Repertory Company which has just opened at the Abingdon Theatre Arts Complex 312 West 36 Street – 1^st floor with Nora by Ingmar Bergman and In the Shadow of the Glen by John M. Synge.  You might think it a strange combination.  That is until you see them.

There are similarities.  Both plays have a character named Nora.   Both women are frustrated by the control held over them by their husbands.  And both leave through a door looking to improve their lot in life.

Nora is adapted from Ibsen’s A Doll’s House famous for being one of the earliest feminist plays that most probably shocked audiences when performed in 1879.  The 1981 adaptation by Mr. Bergman does not improve upon the story.  Nor the play.  His version is shorter and some characters have been excised.  The exposition comes swiftly and all seems somewhat truncated, abrupt and condensed with the basic story remaining intact.  Secrets abound to almost melodramatic effect.

The many scenes require set changes that intrude on the flow although they are necessary.  The very intimate space makes it difficult for Mr. Leibowitz to maneuver his actor’s entrances and exits smoothly.  But the actors must all be commended for their individual skills.

Nora (Allison McLemore) has a striking presence, wears her period costumes well and seems in control until her secret past catches up with her and she begins to unravel – a woman on the verge.  When finally she stands up to her husband Torvald (an immensely likable Chris Kipiniak) deciding to leave him and her children in a fiery confrontation we side with the once flirty spendthrift.  Her friend Mrs. Linde (Eileen Ward) has her own past relationship problems with Krogstad (Sean Gormley) and their own secrets to unveil.  Dr. Rank (Marc Geller) gets short shrift here and his relationship with Nora and reason for being there and then leaving remain vague.

Sean Gormley and Eileen Ward fare much better in second play where her gorgeous red hair and Irish brogue add to the great atmosphere created and where Mr. Gormley’s accent (which ebbs and flows in Nora) is welcomed here and used to full effect. 

In The Shadow of the Glen has Dan (a terrific William Metzo) appearing to be dead to the world in bed when a tramp (Sean Gormley) comes a knocking for refuse out of the rain.  Nora, Dan’s much younger wife (Eileen Ward) is tired of him and welcomes his death.  Only he isn’t.  They discover this comically when Michael (a delightful Brian J. Carter) asks for her hand in marriage.  It’s a charming one act play which leaves you with the promise of more good things ahead for this new repertory company. 

Marvell Rep is a work in progress and needs to be nurtured.  They are taking on a monumental challenge and need to be encouraged.  They are off to a fine start.  I am looking forward to seeing Blood Wedding by Federico Garcia Lora and The Dybbuk by S. Ansky. 

22 Actors 6 Weeks 4 Plays – in rotating repertory – February 18 – April 3, 2011.

www.marvellrep.com

Tags: No Comments.

Once in a very rare while a play captures your utmost attention.  And if you are lucky enough you get great actors and a smart director with a staff of more than capable designers to augment the words – the words that the playwright has supplied to surprise, to enlighten and to entertain.

INVASION!  a Swedish sleeper of a play at Walkerspace (46 Walker Street) by Jonas Hassen Khemiri fits that bill to a tee.  It awakens and arouses the senses of playgoers with one surprise after another with its startling and astonishing insight into words, the perception of words and of the perceptions of people who speak them.

Let’s start with the words.  There are plenty.  All exceptional.  And exceptionally put together by the playwright who has entertainment as well as enlightenment of some very serious subject matter on his mind.   

One word in particular:  “Abulkasem” is used throughout the ninety minute play to mean a multitude of things.  It can be an insult or a compliment.  It can mean something good or something bad.  It can mean most anything.  It can be a person.  But unlike some words that become overused and then disappear, “Abulkasem” is here to stay.

The translation by Rachael Willson-Broyles falls perfectly on the ear keeping intact the intent of the playwright, his rhythms, his overlapping of dialogue and his humor.  It appears to be a perfect marriage – an “Abulkasem” so to speak.

The action is scattered, taking place in a High School lunchroom, a local bar, in front of an apartment door where Actor C – Francis Benhamou has locked herself out yet again, at a Seminar, on a TV show with a panel of experts discussing “Abulkasem”, at the simultaneous translation that goes akimbo of an apple picker (Actor A – Andrew Guilarte) who seeks asylum, and at a weekend home where Actor D – Bobby Moreno, in a poignant and riveting monologue describes some frightening goings on by a neighbor. 

I haven’t yet mentioned Actor B.  He is Debargo Sanyal.  A meticulous actor full of promise and manic energy with a talent for accents who can say more in silence than anyone can with a mouthful of words – no matter how wonderful those words may be in this case.  He is a marvel and I thought as much when I first saw him a few years ago when I predicted great things for him.  He has not disappointed.

Nor do the three other actors.  They all get to take center stage and own it.  The wonderfully natural and attractive Ms. Benhamou has that star-like glimmer that radiates from Linda Lavin.  Her translation scene with Mr. Guilarte (speaking Arabic) is timed to perfection – a beautiful combination of writing, direction and acting. 

Although the action and thoughts and characters change before our eyes, director Erica Schmidt has done a masterful job at keeping everything clear and precise and surprisingly surprising.  She is aided tremendously by the great lighting design of Matthew Richards, set design by Antje Ellermann and costumes by Oana Botez-Ban.

INVASION! is the perfect production to wake you from those winter doldrums.  Through March 12^th.     www.playco.org

Tags:   Andrew Guilarte · Bobby Moreno · Debargo Sanyal · Francis BenhamouNo Comments.

PREMIERE CAST RECORDING – WITH MEMBERS OF L.A. & NYC CASTS NOW AVAILABLE.

Winner of the New York Fringe Festival Award for Outstanding Musical 2007. 

Book and Lyrics Spencer Green & Gary Stockdale  Music by Gary Stockdale

When I read the announcement I remembered liking this show very much and the following is my original review.

Enjoy.  www.bukowsical.com   www.kritzerland.com

BUKOWSICAL! – Fringe Festival Participant – WOWSICAL!

Oscar E Moore from the rear mezzanine for Talk Entertainment.com

All it seems to take these days to become part of Broadway legend and lore is A: an unhappy childhood.  B: plenty of abuse.  C: plenty of alcohol and drugs and dirty words and most importantly, D: plenty of sex.  And more dirty words.  Oh yes, and about a half million dollars to produce said opus.  I almost forgot the all important E:  a good agent and the negligible F: talent.

Well, talent will out as proven on stage at The Bleecker Street Theatre where Bukowsical!  played to a SRO hyper excited audience.  Written by Spencer Green (who should have his mind washed out with soap and then congratulated for his obscenely dark sense of humor) and Gary Stockdale whose music is manically tuneful and extremely serviceable to the story as such there is a story, Bukowsical! has staked its claim on the New York theatrical scene. 

The octet of very talented actor/singer/dancers – dancing to the beat of imaginative choreographer Leanne Fonteyn and dressed simply and bizarrely by Gelareh Khalioun basking under the really great lighting of Jason Mullen under the non stop direction of Joe Peracchio (well he does stop in order to let Fleur Phillips – no she is not a stripper but a fine singer and actress as One True Love – belting out the wonderful “Remember Me”.  That is, after a surprise arrival (house lights up please) of the dead serious dead pan New York lawyer (who happens to know musical theatre) representing the estate of the late Charles “Buk” Bukowsi which leads into the high point of the evening – a song which is an hysterical Ode to Los Angeles – comparing it to New York and winning out.  There is also a fog machine at work.  Brad Blaisdell is a perfect Bukowsi and Marc Cardiff is the perfect narrator cum fund raiser for the backer’s audition of the show in question. 

It’s an evening of uneven glorious fun.  It needs some fine tuning.  Biggest quibble: imperfect rhymes.  But the strange story takes hold and the performers win you over despite the drunken, derelict and degenerate life of a writer and poet unfolding and crumbling before our eyes.  The cast is triumphant and we wonder who will be next to be musicalized.  Sylvia Plath?  Well, she is already a character with one of the funniest lines of the show.  Be brave.  Do not be offended.  Find out what that line is.

Tags: No Comments.

What better way to celebrate Black History month than to see “The Whipping Man” an intriguing new play by Matthew Lopez at NY City Center Stage 1 – a Manhattan Theatre production.  And for those of you who celebrate Passover, even though it’s a bit early.  I’ll explain.

Mr. Lopez has devised a script (I was captured by the writing and storyline) that deals with the homecoming of a Jewish Confederate soldier Caleb DeLeon (Jay Wilkison) who is reunited with two former slaves – Simon (Andre Braugher) and John (Andre Holland) both brought up in the Jewish faith by the somewhat liberal parents of Caleb.  Liberal, up to a point.  They can still send their slaves to the Whipping Man when need be.

The Civil War has ended and Caleb, with a gun shot to his leg that has gone unattended limps back to his old plantation home – think Tara in ruins.  The magnificently appropriate set by John Lee Beatty shows what once was and now is in all its tattered glory even down to a mezuzah that has remained unscathed at the Richmond Virginia mansion door down to the water dripping from the leaky roof.

Lit mostly by candlelight and some terrific work from lighting designer Ben Stanton, “The Whipping Man ” starts out as an almost Gothic tale with thunder and lightning and the graphic description of how Simon is going to amputate the gangrenous leg of Caleb, which he proceeds to do with the help of a bottle of whiskey, a saw and the help of a reluctant John.

After this initial shock which grabs your attention like nothing else ever has, the play settles down into an extended family melodrama.  Good melodrama.  Where the three men are forced to understand each other, revealing secrets and settling some old scores over a meal of Caleb’s non kosher horse.

It just so happens that Passover coincides with the end of the war, the freeing of the slaves and the assassination of Lincoln.  Simon wants to celebrate Passover.  Will Caleb who has lost his faith agree?  Will John stay or be on his way to New York?  Some of the many questions besides – “Why is this night different from all other nights?”

Andre Braugher gives a poignant and commanding performance as he learns some awful truths but still has hopes and dreams as he sings a stirring “Let My People Go” (Go Down Moses).  Andre Holland lends some wonderful moments of humor with his looting of neighbor’s homes and his stash of whiskey and wine.  Jay Wilkison struggles valiantly with his faith and the truth that is revealed in the packet of letters he so passionately holds onto is just one of the many twists and turns the plot takes.

But it is the fine, intelligent and original script that captures our hearts along with the excellent direction of Doug Hughes and the powerful performances that you will remember long after Black History month and Passover have gone.

www.mtc-nyc.org Photo: Joan Marcus

Tags: No Comments.