Oscar E Moore

Working Theater is presenting at The Clurman at Theatre Row the New York premiere of the Helen Hayes Award-winning “Honey Brown Eyes” by Stefanie Zadravec.  Some might say that there are too many awards being bestowed these days.

Ms. Zadravec has literally resurrected the “kitchen sink drama” as her play – actually two one act plays dealing with the same themes and some of the same characters takes place in two kitchens in Bosnia circa 1992 when the war was in full boom. 

Set designer Laura Jellinek has misfired here.  While I greatly admired her set for The Cocktail Party at The Actors Company Theatre, here she does director Erica Schmidt and the audience a disservice in that it takes so long for them to adapt Act II’s new kitchen area and makes it difficult to stage the two pieces as they begin to merge in the second half.  Perhaps that’s intentional but it is distracting to say the least.

We all know of the horrors of war from afar but Ms. Zadravec wants us to see how it affects the people in their own homes up close (in their kitchens) and have us see and feel what it’s like.  Now if you are going to set the play in Bosnia one might expect the actors/characters to sound like they really are from Bosnia.  There is no attempt at accents here and that is also distracting.

Dragan (Edoardo Ballerini) has his assault rifle aimed at Alma (Sue Cremin) as the play begins.  Excellent rapid fire dialogue.  He assaults her verbally and then physically.  He is looking for her twelve year old daughter Zlata (Beatrice Miller) who has a thing for American TV shows.  He wants Alma to pack.  He is taking her away.  She refuses defiantly holding on to her home.  LOUD ROCK MUSIC.  Next scene:  We finally get the back story as she remembers him from an old rock “n” roll band that her brother Denis had.  They reminisce about the old days when his partner in crime Branko (Gene Gillette) appears urging him to hurry.  MORE LOUD ROCK MUSIC.  Daughter arrives.  I won’t spoil it from here on.  Act I ends so abruptly as to stun the audience into silence.

Act II begins as an exercise in acting class as an older woman Jovanka (Kate Skinner) peels an onion inducing tears and is cooking as the power has just returned accepting her life and attempting to go on as usual as Denis (Daniel Serafini-Sauli) brother of Alma seeks refuge in her apartment (Jovanka’s been abandoned by her family) as he is being hounded by Milenko (Gene Gillette again) in an unnecessary part as he never returns as Milenko but does as Branko when all this somehow merges as Jovanka and Denis get drunk and she tries to listen to her Mahler tapes on her cassette deck that is perched high atop a cabinet all but making it impossible for her to reach without stepping up on a chair. 

Like the war itself “Honey Brown Eyes” drags on with MORE LOUD ROCK MUSIC between scenes until it’s blissfully over.

www.theworkingtheater.org  Tickets $25.00 Through Feb 6^th.

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Kathy Kahn wrote a book – HillBilly Women – based on a series of interviews of Appalachian women from the late 1970’s where they recounted their stories of living in poverty, living with coalminers, living off the land, dealing with abuse and loveless marriages, working in factories and the pluses and minuses of union labor all the while keeping their dignity and aspirations intact.  Really interesting stuff.  Or so I thought.

Elizabeth Stearns has adapted these stories for the stage, added some songs with some nice piano, guitar and fiddle accompaniment along with a modern day narrator called “Witness” and immediately gets us off on the wrong track by having the smart and stylish Donna Hanover declare she is Dolly Parton which she immediately corrects and introduces herself as herself. 

Director Sondra Lee takes over from there with not much to offer in the staging department – as each of the six women on a bare stage with an enlarged map of Appalachia hanging upstage above their heads tell of their tales of woe.  And it is upstage that Ms. Lee – much too often – has many of her actors speaking.  Sometimes commiserating with each other, sometimes near tears and sometimes trying to sing.

There is Jewel (raspy voiced Alicia Meer) and her rebellious daughter Della (Mickey Sumner).  Siddy, a sitter and a drinker (Evangeline Johns).  Denise (Mimi Turque) the faithful one who does a nice job with “Amazing Grace”.  Ada (Annette Hunt) wrinkled but strong – full of joyous energy and some humorous tales.  Then there is Sharlene (a wondrous Lauren Fox) – pale, young and downtrodden who engages our attention with bare faced honesty and a depth of feeling as she sings “Grandpa” and “Mama He’s Crazy” that just about breaks your heart.

Donna Hanover as “Witness” appears all over the stage and in the front rows – popping in and out like Waldo interjecting random distracting thoughts and commenting on the stories just to let us know that not much has changed for these women who despite all that they have gone through remain strong and enjoying the moniker of Hillbilly thrust upon them.

The show is a little bit documentary, a little bit Spoon River Anthology and a little bit repetitious without enough conflict to sustain interest.  The fact that there are some fine singers and some not so fine doesn’t help their cause.   Understudy Katy Frame is seated on the side with the small combo and her beautiful voice can be heard giving her fellow gals some needed support.

“Hillbilly Women” is like as assortment of chocolates in a Whitman Sampler – some are more delicious than others but all in all it’s a treat seeing women of a certain age offered interesting roles to play even though the production is not totally satisfying.

Through January 30^th at Arclight Theatre 152 West 71 Street.  Tickets $18.00

www.thebleecker.com  Photo:  Steve Friedman

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Nothing is more enjoyable or fulfilling than seeing a group of young children sitting on the “red carpet” along the apron of the stage at the 14^th Street Y watching the altogether imaginative and engaging performance of “A Wonderfully Flat Thing” – based on a fable by Mark Twain who appears as a life size puppet (operated by Jake Goodman) wearing bunny slippers, surrounded by books and huge Day-Glo trees as he attempts to type out a story about a “flat thing” with his curious marionette of a cat (Emily Hartford) nearby.

Nothing that is, except seeing how the imagination of adults can produce such an entertaining stage presentation so that the little kids can have a new kind of learning experience.  A unique experience of words, dance, music, color, laughter and wonderment that is something akin to a kiddie version of “Avenue Q”. 

The fantastic large hand held puppets are performed by actors pretending to be a know-it-all donkey (Jake Goodman) His Majesty the Elephant (Shawn Shafner) a most likable snake (Sarah Painter) and an Ostrich that wishes she could fly (Sarae Garcia) that the children totally believe in – interacting with them and answering questions when asked.  It’s infectiously delightful.

The “flat thing” turns out to be a mirror in which each animal sees something different –  their own reflection which is enhanced by large, magical video projections (David Tirosh) to keep the tot’s attention from wandering. 

Mark Twain, in his clever way, imparts to us that the “flat thing” reflects not only our image but our imagination.  Imagine it and you can see it.  What a wonderful message being shared in this 45 minute live theatrical production created by Manju Shandler (also responsible for the fabulous puppets and set design) & Basmat Hazan.

David Winitsky, the director of “A Wonderfully Flat Thing” graciously includes the children whenever he can – their reactions and comments are priceless.  It’s a great way for parents to connect with their children and share this exciting experience.  Especially after the performance when there is a “Meet and Greet” with the animals, er the puppets, er the actors.

Not many performances left, so hurry.  www.14StreetY.org/awft   212 780 0800

Tickets $15.00/ $50.00 for a family of 4.  Recommended for ages 3 and up.

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Michael Altieri who is co-starring in this revival of a revival of Dracula by Hamilton Deane and John L. Balderston based on the original novel by Bram Stoker at the Little Shubert Theatre is no Frank Langella. 

Mr. Langella, rightfully so – I saw him – was nominated for a Tony as Best Actor for his suave, seductive and sexy portrayal of the Count in the 1977 production with fantastic sets by Edward Gorey which won for Best Revival and Best Costumes of said opus dealing with the living dead. 

And that’s just how Mr. Altieri comes across.  As a stiff.  Without much life or magnetism.  And unfortunately looking very much like a raven haired Fabio with as much seductive powers as a stick of substitute butter.

His co-star is George Hearn as Abraham Van Helsing a man of many accents (wish Mr. Hearne could settle on one) who has been brought into the 1914 English household of Dr. Seward (Timothy Jerome) whose daughter Lucy (Emily Bridges) is ailing with a mysterious illness, two tiny marks on her neck and bad dreams – a foreshadowing of this production laboriously directed by Paul Alexander.  She is cold and languid.  As is Count Dracula when he shows up as the new vampire in town living on his neighboring estate.

Under the influence of Dracula, Lucy has lost interest in her beau Jonathan Harker (a fine Jake Silbermann).  Her maid Miss Wells (an amateurish Katherine Luckinbill) who has also been swayed by the Count removes an overly large garland of wolfsbane and wooden crucifix from Lucy’s neck so that the Count and Lucy can partake of a ridiculous pas de deux for vampires in Act II. 

If all this sounds like howling good fun, it isn’t.  And it could be.  The audience was dying to laugh.  Despite the howls and barking dogs, the fog, the bats flying about and the Spider-Man antics of Renfield (an oddly interesting John Buffalo Mailer) an American  patient of Dr. Seward who dines on flies and spiders, escapes often from his guard Butterworth (Rob O’Hare) and is also under the spell of Dracula.

Perhaps an all out spoof of this aging tale could have worked better.  In the vein of Charles Busch or Carol Burnett.  There is a bit about Mr. O’Hare’s hair that should have been a clue as to the direction Dracula could have taken rather than the heavy handedness on view.   

Take note of the draperies and see if they do not remind you of the famous Tara Gown worn by Ms. Burnett in her spoof of Gone With the Wind.  That memory will take the chill off the evening.  Or better still buy a “BITE ME” tee shirt at the concession stand post-mortem.

Photo:  Carol Rosegg

Through March 13^th, 2011.   www.draculaonstage.com

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Originally written by Dylan Thomas as a BBC radio script, and only published after his untimely death at the age of 39 in 1954, “A Child’s Christmas in Wales” has become a perennial Christmas time favorite. 

It is fitting that The Irish Rep under the direction of Charlotte Moore has staged this charming story of a young boy’s memories of Christmas with five extremely talented ensemble singers to present this poetic tale interwoven here with traditional songs of Christmas – some more well known than others – as a special holiday musical gift, exquisitely wrapped up with Christmas trees aglow with twinkling lights, a shiny ebony grand piano and voices that swell in praise of this sweet, nostalgic and cozy story by Mr. Thomas.

When life was more simple and you could enjoy the sounds and smells of the holiday, the vast amounts of snow in the small village located on the coast of Wales, where relatives would convene on Christmas Eve to eat, smoke cigars, drink tea with some rum and take a snooze soon thereafter we hear in the wonderful written voice of Dylan Thomas – his fine, delicate and specific words to describe these events.

Under the astute musical direction of John Bell, songs have been added that make the story sparkle with the spirit of Christmas.  However, the static and unimaginative staging distracts from the overall beauty of the piece.  Why have chairs when no one sits and then when they finally sit why have them riveted to them when clearly the actors are aching to be released – to get up and bring more life to the festive event? 

Scruffy Ashley Robinson, looking eerily like Mr. Thomas captures his spirit throughout, has a fine voice and comic sense.  Kerry Conte has a beautiful soprano and looks resplendent in her red dress as does Victoria Mallory who has been absent from the New York stage for far too long.  Broadway leading man Martin Vidnovic’s voice booms with his inherent charm delighting the audience from every angle.  Mr. Simon Jones, looking elegant and dapper, is at his professional best as usual.

From the off stage opening of “Deck the Halls” sung both in English and Welsh to “All Through the Night” (a song I first heard and sang and loved when I was a young lad of six) to the amusing “I Don’t Want A Lot For Christmas” and “Miss Fogarty’s Christmas Cake” and the spectacular version of “Silent Night” you will be able to relax and reminisce.

As an encore, the cast will treat you to a medley of “Favorites” which is the icing on the cake.  So “Have Yourself a Merry Little Christmas” and enjoy this production at The Irish Rep which only runs through January 2^nd.  www.irishrep.org  Photo:  Carol Rosegg

Tags:   Ashley Robinson · Charlotte Moore · John Bell · Kerry Conte · Martin Vidnovic · Simon Jones · Victoria MalloryNo Comments.

You will have no one to blame but yourself if you miss this wondrous production of “Driving Miss Daisy” written by Alfred Uhry.  This is what great theatre is all about.  What true acting is all about.  Three consummate actors – Vanessa Redgrave,  James Earl Jones and Boyd Gaines – in one of the best shows I have attended all season.

All are giving exceptional performances headed by Ms. Redgrave who ages and becomes a physically changed woman right before our eyes – baring the heart and soul of her character Daisy Werthan, a Southern Jewish woman who must swallow her pride and independence when she becomes too accident prone to continue driving her car and must bow to her son’s wishes to hire a black chauffeur, Hoke Coleburn (the excellent James Earl Jones) who needs the job and is continually bemused by her attitude towards him – slowly ingratiating himself with her while always being respectful, waiting for her to give him a small clue as to what the next step in their relationship will be.

Director David Esbjornson has coaxed emotionally powerful performances from his perfect trio and the last scene will bring tears to your eyes as it is revealed how strong the friendship between Miss Daisy and Hoke has become. 

A relationship that starts off shaky at best in 1948 and continues in a series of short vignettes through to the late sixties.  Within that time span they have to deal with the Civil Rights Movement, the KKK, Martin Luther King, Hoke learning to read and above all – each other.

It is to Mr. Gaines’ credit that he has made Daisy’s son Boolie so endearing a person as he is more interested in making a name for himself in the banking business than tending to his demanding mother.  He hires Hoke to stand in for him and Hoke does an amazing job at turning the cold and distant Mrs. Wertham into his best friend.

Projections are used to fill the stage as “Driving Miss Daisy” is a very intimate show.  The car, suggested by a bench, a seat and a steering wheel has been cleverly set up on a turntable.    

But it is the performance of Miss Redgrave that fills the stage with artistry and leaves an indelible mark on our minds with her moving performance that gets to the heart of the matter and into our hearts with simplicity, honesty and humor.

It’s a great show.  See it now.  At The Golden Theatre.  Through January 29^th.

www.daisyonbroadway.com    Photo:  Annabel Clark

Tags:   Boyd Gaines · David Esbjornson · James Earl Jones · Vanessa RedgraveComments Off on Driving Miss Daisy with Vanessa Redgrave, James Earl Jones & Boyd Gaines

Veanne Cox & Jeffrey Wright

It was the best of times and it was the worst of times for Jacques Cornet (Jeffrey Wright) in 1801-1806 New Orleans, Louisiana.  He is the hero of A Free Man of Color, a sprawling schizophrenic new play by John Guare that is bursting at the scenes with historical facts and trying desperately to channel the style and substance of Restoration playwright William Wycherley’s The Country Wife.  Too many styles, too many ideas and too long. 

One has to admire the daring of John Guare and director George C. Wolfe to imagine bringing to the stage such an important time in the history of America.  But how can you take seriously the story of slavery, race relations and the Louisiana Territory that was being bandied about by Spain, France and Thomas Jefferson when the characters are mostly cartoon figures, buffoons or fops in Act I and then switch gears in the second act to fulfill the ideas and scope of Manifest Destiny?  Perhaps there are two plays here.  Fraternal twins that might develop to their full individual potential if separated.

The production is magnificent.  Eye popping sets (David Rockwell) ornate costumes (Ann Hould-Ward) atmospheric lighting (Jules Fisher & Peggy Eisenhauer) original music (Jeanine Tesori) all help prop up the tale of this one city where anyone could be whatever they wanted to be.  A city of mixed races, wealth and promise. 

A city where Dr. Toubib (Joseph Marcell) narrates the play within the play introducing us to what seems to be a cast of thousands including: Napoleon and Josephine, Tallyrand, King Carlos Cuarto, The one eyed Infanta, Thomas Jefferson, Meriwether Lewis, Robert Livingston, Toussaint Louverture, citizens of Sante Domingue, slaves of New Orleans ad infinitum.

The main story deals with the fictional Cornet – well played as a man of many colors and dimensions by Jeffrey Wright.  He is wealthy.  Infamous.  And well endowed.  There are many references to “the sea monster” and “the arm of a five year old” that all the prostitutes and refined ladies of the area find irresistible to the extent that secrets are let loose between the sheets which enable Cornet to life in the lavish style to which he has become accustomed.   He then faces a reversal of fortunes, feigning impotence in the process.

Mos, Cornet’s slave Murmur who doubles as the Haitian revolutionary Louverture gives the most honest and compelling performance in this circus of cartoon like characters and becomes the one person who you can connect to and feel compassionate about.

The all star cast does all that it can to entertain and inform.  Notables are:  Reg Rogers as Cornet’s half brother, an outstanding Nicole Beharie as his wife who is seduced by Cornet and impregnated, John McMartin as the hypocritical and free spending Jefferson, and the incredible Veanne Cox as Mme. Mandragola a brothel owner, Dona Polissena an uptight scientist looking to discover a cure for Yellow Fever and the stooped Robert Livingston, Minister to France that has to seen to be believed.   

www.lct.org     Photo:  T. Charles Erickson

Tags:   George C. Wolfe · Jeffrey Wright · John Guare · Mos · Veanne CoxNo Comments.

This off kilter play called ELLING on its off kilter, Ikea looking set by Scott Pask would be better suited off-Broadway than at the Ethel Barrymore Theatre where it seems dwarfed by the size of the stage.

ELLING has a long pedigree.  Based on the novels by Ingvar Ambjornsen (very successful novels I might add) there was a stage and film adaptation by Axel Hellstenius in collaboration with Peter Naess and now a new English Adaptation by Simon Bent starring Brendan Fraser and Denis O’Hare as Oslo’s answer to the odd couple.  Having trouble finding its footing and tone there seems to have been something lost in the translation of this tale about normalcy, friendship and insanity directed by Doug Hughes.

Elling (Denis O’Hare) is an educated, talkative momma’s boy and insecure poet who is compulsively neat.  Kjell (Brendan Fraser) with a slower mental capacity is a forty year old horny hulk of a man, a virgin and sloppy.  They are a combination of Felix and Oscar, Laurel and Hardy and Lenny and George from Steinbeck’s Of Mice and Men.  With a lot of Forrest Gump thrown in. 

Opposites do attract and O’Hare and Fraser turn in fine tuned performances.  At times, truly comic.  But not enough of the time to make this a must see event unless you are fans of these two men.

Included are Richard Easton who has his own loyal following as Alfons Jorgensen, the amazing Jennifer Coolidge who runs away with the show as a tough nurse, a pregnant neighbor, a zaftig waitress and hip poet.  Jeremy Shamos fills out the cast as the social worker who has set both Elling and Kjell up in their new apartment after being transferred from the nut house where we first encounter these polar opposite roomies. 

Having to prove that they can lead normal lives in order to remain in the state owned apartment they go through the normal rigors of living with someone and their friendship develops to the point of exchanging Christmas presents and underwear.  If this has piqued your interest so be it.

When the unmarried pregnant upstairs neighbor falls in a heap on their doorstep their friendship is further tested.  It becomes absurd with Elling inserting his anonymous poems into packages of sauerkraut and receiving praise from a famous poet (Alfons) that Elling has met when he finally finds the courage to leave the apartment who owns an old broken down Buick that Kjell will repair.  It’s a tale that ends up with them all in the country in a cabin owned by Alfons under a beautiful starlit sky.

Will the odd or rather rare couple be able to stay in their apartment?  Will they remain friends?  And what is to become of the pregnant woman?  Is it insanity or just plain normal?  Who’s to say?

www.EllingOnBroadway.com   Through March 20, 2011  Photo:  Joan Marcus

Tags:   Brendan Fraser · Denis O'Hare · Doug Hughes · Jennifer Coolidge · Jeremy Shamos · Richard EastonComments Off on Elling – Denis O’Hare & Brendan Fraser: the odd couple from Oslo

Sometimes even Santa Claus (a droll George Wendt) needs help as is the case in the new family friendly, tuneful, smart and thoroughly enjoyable musical Elf that is here to spread its holiday happiness through January 2nd, 2011 at the Al Hirschfeld Theatre.

Santa’s sleigh won’t budge after crash landing in Central Park as there are not enough believers in Santa Claus these days in the tri state metropolitan area to help propel his distribution of presents.  There is a discernable lack of true Christmas spirit as well. 

And so Buddy the Elf (Sebastian Arcelus) – who grew up at the North Pole – a misplaced human orphan surrounded by fellow elves does the trick.  But not before he finds his real dad (Mark Jacoby) in New York who is on the naughty list, falls in love with Jovie (Amy Spanger) makes believers of his step mom (Beth Leavel – looking great and nailing every laugh) and half brother (lovable Matthew Gumley) experiences revolving doors, learns about paper shredders and tries to impart what it means to enjoy each other – not only for the holidays but all year long while all the time smiling.

For those cynics and Christmas spirit bashing naysayers, I say Humbug to you all.  Go see this show and rediscover your inner child.  Stop and smell the fir trees and enjoy the glistening snowflakes.  You’ll be happier for it.  Yes, Elf is sentimental.  But it is heartfelt sentimentality at work here combined with musical comedy show business expertise that makes Elf so entertaining.

Based on the New Line Cinema film Elf, Bob Martin and Thomas Meehan have delivered quite a humorous book, Chad Beguelin some fun and clever lyrics and Matthew Sklar a jaunty and jingly score that has a few highly memorable songs including “I’ll Believe in You” and the show stopping “Nobody Cares About Santa” with a great Benny Goodman sounding arrangement.  If that number doesn’t do something for you, you are a lost cause.

Scenic designer David Rockwell takes us on a grand tour to the North Pole, Macy’s, Radio City’s ice rink, Tavern on the Green and into the home of Buddy’s dad and his office in the Empire State building where he is a tyrant, under a deadline to come up with a new children’s book idea leaving little time for his family and having to deal with this tall, naïve pest in a green suit with curled up at the toes footwear.  Nice costumes by Gregg Barnes.  But isn’t Jovie on Christmas Eve on a bench in Central Park just a bit freezing in her short red dress and light white sweater?

As Buddy, Sebastian Arcelus gives his all but the ghost of Buddy past, Will Ferrell who starred in the movie lingers in the mind.  As good as Arcelus is and he is very good he is missing that nebbishy/cuddly factor that makes Ferrell so endearing.

The rest of the cast sparkle like stars in the sky and seem to enjoy spreading the good cheer rustled up by director and choreographer Casey Nicholaw.  Michael Mandell and Valerie Wight are two more very special gifts to savor in this holiday show destined to make many theatergoers think twice about what they want for Christmas.

www.ElfMusical.com   Photo:  Joan Marcus

Tags:   Bob Martin · Casey Nicholaw · Chad Beguelin · Matthew Sklar · Thomas MeehanNo Comments.

Right up front I have to say that I did not like, enjoy or find anything remotely amusing with this aberrant and bizarre Bloody Bloody Andrew Jackson the Off-Broadway musical hit of last season that is now running at the Bernard B. Jacobs Theatre.  It just isn’t my cup of tea – as in Tea Party so to speak.  Actually it has me seeing red.

Call me old fashioned but I think it’s time that we take the Broadway musical back from those that for the sake of being “cool” and “out there” and “different” are writing self indulgent shows that have poorly structured books and songs that are better suited to rock concerts. 

And in this case, directed by writer Alex Timbers in an over the top, melodramatic lampoon-ish style that attempts to draw into the theatre the angst ridden adolescents of today by making a rock star idol or is it idiot out of the angst ridden 7th President of the United States, Andrew Jackson. 

Michael Friedman is responsible for the music and lyrics that are blasted through the speakers so that your ear drums are worn out even before the show begins.  As you enter the theatre that has been transformed into a bordello looking lodge with deer heads, lots of red lights, portraits of Presidents and a dead horse suspended above those seated in the orchestra we are given the opportunity to survey the territory designed by Donyale Werle.

With its small on stage band it abruptly begins.  “Are you ready?”  asks Andrew Jackson (Benjamin Walker) tall, handsome and arrogant.  Some response.  Louder he repeats his question almost threateningly.   Great response and we are off. 

Off into the fractured life of a man who was pro slavery, a spoiled child, into cutting himself, hated the Spaniards and the British, wanted to take back all the land that the Indians owned, take back his country for the people, was pro Populism and a bigamist to boot.  Interesting guy.  Interesting story as told by the motorized wheelchair narrator (Kristine Nielsen) the only character I did like. 

But it’s how the story gets told – in short vaudevillian vignettes – that I wasn’t attracted to.  It alienated me.  I couldn’t get involved or care about the characters with all the anachronistic zaniness going on.  And I like zany.   

And what’s with not listing the songs?  It irks me to no end.  Like I said, call me old fashioned.

www.bloodybloodyandrewjackson.com    Photo:  Joan Marcus

Tags:   Alex Timbers · Benjamin Walker · Kristine Nielsen · Michael FriedmanNo Comments.