Oscar E Moore

At the Connelly Theatre way over at 220 East 4^th Street a new play written by Guy Fredrick Glass, The Last Castrato has just opened and it’s well worth the trip to see this illuminating and interesting theatrical piece about Alessandro Moreschi – the last of the “mutilated singing machines”.  That is, a young man who had been castrated at an early age so that he would forever have the vocals of a woman and could sing in the Vatican Choir for the pleasure of all who where religious enough to be allowed to hear.

Based on truth but made theatrical by Mr. Glass and directed by John Henry Davis who only falter in the last moments of the play the story is fraught with Vatican intrigue, hypocrisy, bitterness, betrayals, longing, bigotry, laughter, glorious singing (Mr. Joseph Hill) and some superb acting especially by the altogether unrecognizable Mr. Doug Kreeger who turns in a spectacular performance as fellow castrati Cesari who welcomes the new singer Moreschi (a fine Mr. Jacob Pinion) and immediately and tragically becomes besotted.

Even though Moreschi accepts his situation he doesn’t agree with Cesari on all accounts while being befriended by his mentor Mustafa (Mr. Frank Anderson) who is driven crazy by the complicated politics involved. 

Moreschi lives only to sing.  He is neither male nor female.  He is trying to discover who he really is and why it is that he has these strange feelings for Cesari and for Lillie (Ms. Melissa Miller) a divorced woman who wants to take singing lessons and is the companion to the aggressive, rich and oh so naïve Mrs. Bristed – an Astor who has found religion (Ms. Bethe B. Austin) – whose character adds much amusement as she is totally in the dark as to what a castrato is, thinking perhaps it’s a musical term.  She is delightful in her innocence.

The smarmy Cardinal Sarto (Mr. Liam Torres) who later becomes the smarmy Pope Pius X who abolishes dance and popular music causes the many obstacles to befall Moreschi along with Perosi (Mr. Jonathan Tindle) director of the Papal choir.  Together they plan to extinguish “the capons”.

In Act II Moreschi is asked to make some recordings for a company with a new machine called a gramophone.  Mr. Abe Goldfarb who was an almost invisible Guard in Act I suddenly becomes alive and blossoms in the role as salesman, talking the reluctant Moreschi into making a wax master.  Upon hearing his own voice he suddenly understands that he has an extraordinary instrument and despite his being a castrato he can now reproduce himself via his recordings.   It’s wonderful until playwright and director have him lose all dignity by cavorting around in Mrs. Bristed’s red feather boa.

Perhaps they’ll do a remix on the ending.

Photo:  Ashley Anderson

www.lastcastrato.com   Tickets $18.00  1 800 838 3006  event #125160 Through Dec 4th

Tags:   Abe Goldfarb · Bethe B. Austin · Doug Kreeger · Frank Anderson · Guy Fredrick Glass · Jacob Pinion · John Henry Davis · Jonathan Tindle · Joseph Hill · Liam Torres · Melissa MillerNo Comments.

Having never seen Paul Reubens as Pee-Wee Herman, the much beloved cult character that he created in 1981 for Pee-Wee’s Playhouse to critical acclaim (22 Emmy Awards; running five years on CBS) I did this past Sunday at the Stephen Sondheim Theatre (there is something ironic about Pee-Wee being coupled with Stephen Sondheim) where he is making a triumphant return in The Pee-Wee Herman Show which is a variation and update on the original – with some of the original members who have not aged as gracefully as Pee-Wee himself.  I’ve done my research.

After an absence from the theatrical spotlight due in part to a scandalous incident in a movie house which is referenced to in his present incarnation on stage with his “ring of abstinence” the dead pan Pee-Wee is back.  With his trademark uniform: tight grey suit white socks, white shoes and red bow tie.

From the reaction of the audience, a roar of approval from the obviously devoted fans now old enough to bring their grandchildren, to Pee-Wee’s entrance one would think that the Messiah had returned to save all mankind.

I mean, anyone who can get an entire audience of aging children to stand and repeat the Pledge of Allegiance at the top of his show like a flock of sheep being led to the fun-filled circus like proceedings that follow has to have the confidence, the talent and the sharp business acumen to pull it off.  And the 58 year old Pee Wee does.

Along with his bag of tricks, vaudevillian type jokes and clever puppets there is Mailman Mike (John Moody), Bear (Drew Powell), Jambi (John Paragon), Sergio (Jesse Garcia), Cowboy Curtis (Phil LaMarr), Miss Yvonne (Lynne Marie Stewart), King of Cartoons (Lance Roberts) and Firefighter (Josh Meyers).  All are amusing up to a point.  The secret word is “FUN” and every time the word is uttered the audience goes insane.  But remember “FUN” spelled backwards is “NUF”.  And after a while enough is enough.

The paper thin plot involves wishes.  Pee-Wee wants to fly and Miss Yvonne wants Cowboy Curtis to like her.  “REALLY” like her.  And so it goes, with singing flowers and a large cushiony Chairy and Globie interacting until Pee-Wee does fly.  And it is how he flies that is most amazing and worth waiting for.  There are some lessons imparted along with some double entendres that grow increasingly less subtle.  But all is all, Pee-Wee is lots of fun.  There’s that word again.  Readers, that’s your cue to scream out in ecstasy.

The production is first class all the way.  Scenic design: David Korins, Costumes: Ann Closs-Farley, Puppetry: Basil Twist, Lighting: Jeff Croiter and Make-up Hair and Wig design: Ve Neill make for a total albeit expensive visual treat.

The Pee-Wee Herman Show is directed with breakneck-speed by Alex Timbers.  Paul Reubens has created and conceived his comeback (along with Bill Steinkellner, John Paragon & Jay Cotton) where fans looking to regain their youth rejoice and take photos with his overblown images outside the theatre.  Not even a Madame Tussaud wax replica.  It’s amazing!  Nuf said.

www.peewee.com  Photo: Joan Marcus

Tags:   Alex Timbers · Paul ReubensNo Comments.

Jeff Riberdy & Everett Quinton

The good news is that Devil Boys from Beyond is one of the funniest shows I’ve seen in a long time.  It’s a clever take off of all those 1950 space-ship-alien-creatures-come-to Earth movies cross pollinated with the 1940’s screwball comedy His Girl Friday. 

The even better news is that the spaceship from Pluto has now landed at New World Stages (original cast wisely intact) after its very successful run at the Fringe Festival 2009 and so you can actually get to see this wonderful four star comedy with four, four star male actors playing the four, four star femme fatale roles. 

Devil Boys From Beyond, tartly written by Buddy Thomas and Kenneth Elliott is a far fetched fantastic voyage that director Mr. Elliott guides beautifully from take off to bumpy landing with a small budget and a large amount of ingenuity to create some very funny special effects.

Congratulations are due all around.  Especially to the planet Pluto for sending two of the handsomest, hunkiest Plutonians (Jeff Riberdy & Jacques Mitchell) to invade Earth, taking the wind out of Florence Wexler (Everett Quinton) when their space ship lands atop her husband’s tool shed in Lizard Lick, Florida. 

Back in New York at the Daily Bugle rumors are rife about its demise and top notch Pulitzer Prize winning reporter Mattie Van Buren (Paul Pecorino) is sent by her editor (Peter Cormican) to cover the story.  Complications arise with her souse of a handsome photographer husband (Robert Berliner) who she has caught in bed with her arch rival Lucinda Marsh (Chris Dell’Armo) who is hot for him and hot on the heels of Mattie to scoop the story right out from under her pumps. 

Upon their arrival they meet up with Dotty Primrose (Andy Halliday) owner of the only motel in town and all hell breaks loose with the alien creatures, the two rival reporters, looks that could kill, unexpected and hilarious situations and dialogue that will have you splitting your sides with laughter.  I know that’s a cliché but it is true in this case.

As Mattie Van Buren, Paul Pecorino has the walk, the gestures, the looks of Joan Crawford, crossed with Roz Russell crossed with Bette Davis down pat.  He is fabulous.  .

Everett Quinton who learned his craft under the tutelage of the remarkable Charles Ludlam is in top form in his pink teddy making out like a bandit with his naughty Mae West take off.  Delicious. 

As Lucinda, Chris Dell’Armo is very Eve Arden with great comic delivery.  Andy Halliday does Dotty proud also.  As the drunken, adorable husband of Mattie – Robert Berliner has his Cary Grant hat on and it fits perfectly.  Deadpan hilarity ensues.  And Peter Cormican as Gilbert is perfect in his role of the guy trying to save his newspaper from going under – trying to get enemies to cooperate.  You can only imagine!

Great costumes from Gail Baldoni and terrific wig and hair design by Gerard Kelly.  Mattie sings an original song “Sensitive Girl” music and lyrics by Drew Fornarola that is just one of the highlights of the show filled from beginning to end with untold and unlimited surprises.

www.devilboysfrombeyond.com  Photo:  Carol Rosegg

Tags:   Andy Halliday · Buddy Thomas · Chris Dell'Armo · Everett Quinton · Jacques Mitchell · Jeff Riberdy · Kenneth Elliott · Paul Pecorino · Peter Cormican · Robert BerlinerNo Comments.

Where are we?  Are we in Pink Panther land?  Are we in the land of Nine?  Are we in surrealistic Madrid of the 1980’s where we should be but aren’t? 

No, we are in the Belasco Theatre becoming increasingly dizzy by the endless movement of the sets and highly gifted cast members and a taxi and telephones and cinematic projections that are frantically in constant motion but taking us nowhere in the new musical based on the film by Pedro Almodovar – Women on the Verge of a Nervous Breakdown.  That’s where we are.  With a recipe for gazpacho instead of a memorable score by David Yazbek to take home with us. 

All that Lincoln Center Theatre money.  All that talent.  All for naught in this big, busy over produced musical blur.  It’s difficult to believe but Bartlett Sher has directed this wobbly vehicle.

I’ll try to be brief.  Sherie Rene Scott (Pepa, a voice over actress famous for her Gazpacho commercials) is at a loss.  So was I.  Is she an American in Madrid or a native who has lost her accent?  Anyway she is at a loss.  Her actor/lover Ivan (Brian Stokes Mitchell) whose voice makes one melt has left her a phone message that he has left her – in meltdown mode. Ay Caramba!   

His long suffering wife Lucia (Patti LuPone and she does have a semi-mad scene) wants to sue him for divorce after 19 years.  Their sometimes stuttering son Carlos (Justin Guarini) is looking to leave mama’s nest and settle down with Marisa (Nikka Graff Lanzarone).  Pepa’s best friend/ model Candela (Laura Benanti) has found herself bedding a hunky terrorist Malik (Luis Salgado) and seeks help from the one person unable to even help herself – Pepa.  Mama’s lawyer Paulina (de’Adre Aziza) has her own date with the lothario Ivan down the ever busy road that taxi driver Danny Burstein travels where all the pieces of the plot eventually collide in a court room where Ms. LuPone gives us her all.

The book by Jeffrey Lane doesn’t help.  Women on the Verge of a Nervous Breakdown seems to be a dog chasing its own tail.  Round and round we go.   Where it ends, we all know but really don’t care for these semi serious semi cartoon-like characters.

There are some pearls to be found in this tainted oyster of a musical – the opening outfit for Ms. LuPone by Catherine Zuber, Laura Benanti’s telephone gambit, the spellbinding vocals by Mr. Mitchell and the impressive performance by Justin Guarini.

From the opening bullring like music from the orchestra that sound pre-recorded and are somehow being piped in from Pamplona the concept seems askew.  There is a good musical to be based on Almodovar’s work but this isn’t it.  The inconsistent style and tone upsets the gazpacho cart so to speak. 

Ivan, the husband/lover to all advises his son that it doesn’t matter what you say it’s the sound that is important.  He illustrates this by wooing his women with “blah,blah,blahs.”  It’s unfortunate the creators of this misfired and misconceived show have followed his credo too closely with their own too many “blah,blah,blahs.”

www.lct.org  Photo:  Paul Kolnik

Tags:   Bartlett Sher · Brian Stokes Mitchell · Danny Burstein · David Yazbek · de'Adre Aziza · Jeffrey Lane · Justin Guarini · Laura Benanti · Patti LuPone · Sherie Rene ScottNo Comments.

The Libertine, by British playwright Stephen Jeffreys, if produced on Broadway could be the seasons “snob” hit – a British import based on historical characters.  But as presented at the intimate Off Broadway Kirk Theatre it lacks a movie star marquee name in the lead role of John Wilmot – the second Earl of Rochester a Restoration rake, satirist, poet, patron of the arts, lothario and all around schmuck to insure standing room only.

In fact, The Libertine was made into a movie in 2005 starring Johnny Depp which runs 1 hour 54 minutes – much shorter than the almost three hour talk fest at the Kirk.  Not that Joseph W. Rodriguez isn’t up to the part – he most certainly is.

But asking an audience to invest so much time with an unlikable character is perhaps asking too much.  What does he want?  He wants what he wants when he wants it.  To be accepted for his own high estimation of himself.  To be with his wife (Sarah Koestner) in the country and his whore Jane (Libby Arnold) in London.  And then when he becomes infatuated with actress Elizabeth Barry (Patricia Duran) he asks her to give it all up for him.  Pretty cheeky cad.

As he says in his opening monologue we won’t like him.  And he’s right.  Not the actor, the character.  Mr. Rodriquez does an outstanding job at being charming, sexually driven, reptilian and repulsive delivering the full depth of his character.

This accomplished production, presented by Playhouse Creatures Theatre Company, makes a grand and impressive effort of bringing this long winded historical drama to life – sexually simulated acts included.  When your mind begins to wander, as it will, not paying too close to what is being said in dialogue that is oft times poetic and archaic you will marvel at the production values.

An ingenious set design by Laura Taber Bacon keeps the action merrily rolling along with its panoramic scene divided into eight panels (with a reflective back side) that allow director Eric Tucker to cleverly stage the many locations in the script by having the panels moved into varying configurations.  Chairs and tables and a four poster bed on casters help the cinematic approach.  The rich costumes (Angela Huff) lighting (Les Dickert) original music (Edward Davis – there is an amusing Act II song “Senor Dildo” that will stick in your mind) and plenty of perfect period wigs and make-up to keep your eyes busy while the story drones on and on.

The cast of nine deserves to be commended for their honesty, diction and bravery in this saga of a bi-sexual troublemaker (Wilmot) who is banished by King Charles II (a scene stealing Eric Doss who doubles as manservant Tom Alcock) when he writes a pornographic representation of the royal court while his peer George Etheridge (Ross Bennett Hurwitz) writes a successful The Man of Mode based on Wilmot.  Tom O’Keefe and Harry Oram complete the bewigged and bemused “merry wits”.

Through November 20^th.  Tickets $18.00

www.theatrerow.org www.playhousecreatures.org

Tags:   Angela Huff · Claire Warden · Eric Doss · Eric Tucker · Harry Oram · Joseph W. Rodriguez · Laura Taber Bacon · Libby Arnold · Patricia Duran · Playhouse Creatures Theatre Company · Ross Bennett Hurwitz · Sarah Koestner · Stephen Jeffreys · Tom O'KeefeComments Off on The Libertine – Racy Restoration Saga Off B’way

The Scottsboro Boys, with an immediately recognizable score by Kander & Ebb, written by David Thompson and precisely directed by Susan Stroman who has also supplied some incredibly crafted choreography is a daring show that dares you to be entertained while cringing at the horrors that unfold to nine young black boys falsely accused of raping two white women in 1930’s Alabama within the politically incorrect framework of a minstrel show.  And yes, you will cringe yet be totally captivated, diverted and entertained by the exceptionally talented cast.

Shameful, sadistic and startling in its depiction of hate vs. truth, The Scottsboro Boys reaches Broadway from the off Broadway Vineyard Theatre where it began last year and goes way beyond – aiming straight for the jugular and then piercing our hearts with how Afro-Americans have been treated in the past and unfortunately are still privy to racial profiling today – and does so in song and dance.  It’s an amazing accomplishment.

The diamond in the rough at The Vineyard (where I had some reservations) has been honed and polished so that it gleams in all its racist glory at the Lyceum where it is injustice for all those Scottsboro boys.  Heart wrenching one moment and then pull-out-all-the-stops entertaining the next.

The most profound moments also happen to be the most simple as exemplified by the beautiful and haunting “Southern Days” and “Go Back Home”.  Ms. Stroman has found just the right balance to make this show work that follows the heinous story of the young lads through eight trials to its bitter ending.

There are not enough superlatives to honor its cast members.  What an impressive ensemble headed by the sleazy, robust Cake Walk strutting John Cullum as the Interlocutor.  His cohorts in the minstrel show Mr. Bones (Colman Domingo) and Mr. Tambo (Forrest McClendon) played with exaggerated glee deliver the “schtick” without missing a laugh or a leer.  Mr. McClendon also does a show stopping turn as Samuel Leibowitz – the Jew lawyer from New York who defends the group.

As Haywood Patterson who becomes their leader, standing up for his rights and the truth no matter what obstacles befall him, Joshua Henry is steadfast and strong of voice and spirit commanding the stage even while learning to write in solitary confinement.   It is a masterful performance of restrained fury let loose which will move you to tears.

All of the other men:  Josh Breckenridge, Derrick Cobey, Jeremy Gumbs, Rodney Hicks, Kendrick Jones, James T. Lane, Julius Thomas III and Christian Dante White represent some of the best talent on the Broadway stage today and should receive a special ensemble award for their work.

As the two white women wronged, Christian Dante White and James T. Lane are totally believable, horrible and hilarious as Victoria and Ruby with only hats to delineate the fairer sex when not being part of the jailed nine men.

Special mention must be made of Sharon Washington, the only female cast member who plays A Lady, a symbolic part of an observer.  She has an incredibly strong, elegant and silent presence throughout the show which culminates in an unforgettable ending which will leave you breathless and cheering.

www.scottsboromusical.com Photo:  Paul Kolnik

Tags:   David Thompson · Fred Ebb · John Kander · Susan StromanComments Off on The Scottsboro Boys reaches Broadway and beyond

Produced in association with the NFL.  Now there’s an eye catcher for this new play “Lombardi” by Eric Simonson that has recently opened at Circle in the Square that has been transformed into a sports friendly arena for this winning event by designers David Korins (set) and Howell Binkley (lights).

Is it only for football fans?  Not at all.  It’s for everyone interested in a strong story with great actors portraying multi dimensional characters that illuminate the life of one of the greatest football coaches ever – Vince Lombardi (an amazing look alike Dan Lauria who gives a commanding performance that wins us over completely).  In fact, he could have been a banker and the story would have been just as intriguing.  In fact, he was a banker before being chosen to be head coach for the losing Packers.

Based on a book by David Maraniss, Lombardi is about a man and his passion.  His passion for the game.  His passion for his players to win and most importantly the passion (which is palpable) that he shares with his transplanted to Wisconsin from New York wife – the elegant, wry, martini swilling and very supportive Marie (a pitch perfect Judith Light). 

Director Thomas Kail has brought together an A Team worthy of the famous and rather infamous coach of the Green Bay Packers – who was famously quoted for his theory about winning – “Winning isn’t everything – it’s the only thing.” Even though he didn’t originate the quote.  That’s just one of the gems to be unearthed in this very amusing and appealing ninety minute docu-drama about the man behind the men and the woman behind that man.

Reporter Michael McCormick (an impressive Keith Nobbs) has been sent by Look Magazine to interview Lombardi for an up close and in depth article for its readers.  He’s been OK’d because Lombardi knew the guys dad and respected him.  In addition McCormick knows his facts well enough to take the old bull dog by surprise.

In flashback and with McCormick narrating we see the real man behind the team (in all his glorified temper) and three of his star players – the dim witted Jim (Chris Sullivan) the party loving and injured Paul (Bill Dawes) and the Afro-American Dave Robinson (Robert Christopher Riley) who gains enough confidence to form a players union.

Great use has been made of the difficult to stage a play in the Circle in the Square space.  Fluid and sharp direction with the use of video screens and projections add to the sports like atmosphere. 

But it is the story, the writing with each word being chosen with extreme care and the ace acting from all that take top honors.  This may be football season but Lombardi is the play by play to see.

www.lombardibroadway.com   Photo:  Joan Marcus

Tags:   Bill Dawes · Chris Sullivan · Dan Lauria · Eric Simonson · Judith Light · Keith Nobbs · Robert Christopher Riley · Thomas KailNo Comments.

An astonishing and eloquent production of “Banished Children of Eve” which takes place in New York City’s Bowery section circa 1863 has just opened The Irish Rep’s 23^rd season.  It is a world premiere by playwright Kelly Younger adapted from the novel by Peter Quinn that is directed with care and insight by Ciaran O’Reilly.

On a clever Charlie Corcoran circular set that is rotated by members of the cast and crew to allow for the various locations to smoothly fall into view the Irish and the Blacks try to join forces against the Yanks during the riots that broke out because of the introduction of a mandatory draft – unless you had three hundred dollars to pay to be excused or could escape to Canada.

Both The Paddys and the Niggers feel the pressure especially backstage at a local Minstrel Show where the highlight is Uncle Tom’s Cabin enacted by a drunken Jack Mulcahey (an excellent David Lansbury) and his true love Eliza (a wondrous Amber Gray) a Cuban actress – as black actresses were not allowed on stage.  There is a young black man – Squirt (a terrific Christopher Borger) who performs with Jack on the streets to make extra cash.  His talent belies the fact that he is only fourteen.

In an incredible opening we meet the characters.  One almost feels that it is an opening number of a musical as the sounds and rhythms and characters are introduced including the down trodden Stephen Foster (Malcolm Gets) trying to come up with another hit with some tunes for Uncle Tom.

There is the fishmonger – the voice of truth – Euphemia Blanchard (a feisty Patrice Johnson) and the corrupt Waldo Capshaw (Graeme Malcolm) who wants to rob the wealthy employer of Margaret O’Driscoll (Amanda Quaid) with the help of Jimmy Dunne (Jonny Orsini) who is to distract the girl so they can get the keys to the house so he can get the money to avoid the draft.

The intertwining stories merge at a hotel where they are seeking refuge from the riots and where we hear a touching rendition of “Beautiful Dreamer” by Foster.  It is here that saving Squirt becomes the focal point of the play and has it going off into somewhat melodramatic and predictable territory.  But the overall effect is very moving as we realize we haven’t made much progress over the years with the same problem of discrimination still rearing its ugly head.

We are not in the same boat anymore, but as Euphemia states “we are drowning in the same water.”  

Through December 5^th   www.irishrep.org

Tags:   Charlie Corcoran · Ciaran O'Reilly · Kelly Younger · Peter QuinnNo Comments.

Can a revival of David Hirson’s ultra clever La Bete, a Moliere-inspired comedy written in the high brow iambic pentameter (rhymed couplets for those of lower brows) that was first produced in 1991 and ran for a mere 25 performances flip flop into a hit? 

For the most part, yes.  It has been given a glorious production (set & costume design by Mark Thompson) with a first rate cast that couldn’t be better.  Starting with a mimed prologue of a banquet scene that sets the style and is the basis for the “vinaigrette” running gag that follows throughout the almost two hour intermission-less tale the laughs come fast and furious. 

It’s quite entertaining up to a point.  The point being the play within a play “The Boys from Cadiz” which tends to slow down the momentum built up so well by the cast.  La Bete may run out of steam but not rhymed couplets.

In a towering sky high library, in a castle somewhere in 17^th century France, where an ageless and elegant no nonsense spoiled brat of a Princess (Joanna Lumley) has her very own acting troupe that she feels has grown stale we meet the high brow anagram of Moliere, Elomire (David Hyde Pierce) the head of her troupe as he is about to meet the low brow street clown and very vulgar Valere (Mark Rylance) whom she has seen perform, become entranced with and has invited to join forces with Elomire to enliven her performers and bring new blood to perk up the proceedings.

Without an actor that can portray the verbose, vulgar, nose picking, food spewing, flatulence producing, defecating, smelly and slovenly Scaramouche-like character of Valere without alienating the audience and in fact charming them La Bete would misfire.  Fortunately, the consummate actor Mark Rylance fills the bill completely.   He is a wonder to behold giving an electrifying performance of marathon proportions.

Then you need the perfect foil or re-actor.  Enter David Hyde Pierce whose slow burning looks and reactions absolutely match Rylance’s rantings and ravings tit for tat.  Stephen Ouimette as Bejart is there to referee.

Director Matthew Warchus has done an excellent job and has given Ms. Lumley and entrance to be envied for evermore.

The gimmick of having Dorine the maid (Greta Lee) speak only in monosyllables wares thin early on, even though Ms. Lee gives an energetic charade-like performance in getting herself understood.

High brow play meets low brow production.  Will it work?  We’ll have to wait and see.

www.labetetheplay.com   Music Box Theatre  239 West 45 Street 

Photo:  Joan Marcus

Tags:   David Hirson · David Hyde Pierce · Joanna Lumley · Mark Rylance · Matthew WarchusComments Off on La Bete on Broadway

Backstage camaraderie, the sharing of ideas and make-up brushes, critiquing that night’s performance, rehearsing a new play, quick costume and wig changes, some bickering, some jealousy, some swordplay and lots and lots of laughter are what David Mamet, in his mellow younger period as playwright circa 1977, strove for and accomplished mightily in his charming and bittersweet ode to the actor and his craft “A Life in the Theatre” which has recently opened revival and you should make every effort to see at The Schoenfeld – 236 West 45^th Street.

Two actors, one just beginning – a formidable T.R. Knight as John who holds his own with the other thespian who has been there and done that repeatedly for fifty years, the magnificent Patrick Stewart as Robert share with us in a series of short scenes various aspects of what it is to be an actor from the actor’s perspective.   

It is a serious, playful, loving and intimate look into their lives on stage and off that will have you hysterical at the missed cues and forgotten lines one moment and the next understanding the loneliness that pervades the profession.

Much of the plays within the play (mostly amusingly bad, illustrating what actors must sometimes endure to pay the rent) are performed facing upstage to a tiered theatre that is majestically designed as a mirror reflection of the theatre we are sitting in and so we see what makes the magic on stage work from a backstage vantage point.  Witness the rocking boat scene. 

One wonders what it would be like done on a smaller scale.  There seem to be as many stagehands as there are producers.  With the price of tickets today an audience wants and deserves spectacle.  And so director, Neil Pepe has opted for a grand production which is executed to perfection by scenic designer Santo Loquasto, lighting designer Kenneth Posner, and costumes by Laura Bauer.

It’s wonderful seeing two such accomplished actors that complement each other so well and that have such an easy going yet professional rapport.   What fun they must have performing this show.  Both Patrick Stewart and T.R. Knight will certainly be nominated for numerous well deserved awards for sharing the tools of their trade so admirably.

Photo:  Carol Rosegg

Tags:   David Mamet · Neil Pepe · Patrick Stewart · Santo Loquasto · T.R. KnightNo Comments.