Oscar E Moore

For anyone who has ever taken the New York subway and for that matter anyone visiting New York City and wants to venture forth, the new musical “In Transit” which is running at 59 E 59 Street through October 30^th is in for an eye opening treat as to what to expect and who to expect while trying to reach their destination while enjoying the journey.

That’s what the characters all have in common.  To get somewhere.  Trying to reach their goals.  Whether it be a job as an actor, a new apartment, financial security, a new relationship or trying to break through the stubborn wall of denial, “In Transit” enlightens us through clever lyrics and downright hysterical confrontations all sung a cappella, that is, without the accompaniment of any musical instruments.  And it works beautifully.  I don’t know how well this will go over with the musicians union but that’s another musical.

For now, sit back and enjoy the ride with an exemplary cast of seven whose harmonies are closer than a jam packed subway car during rush hour.  The musical arrangements and direction by Mary-Mitchell Campbell are fantastic as is the spot on direction and musical staging by Joe Calarco.

With a sharp wit, satirical barbs and basic honesty the creators have come up with a truly original way of presenting some well worn characters and situations.  Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth – based on an original concept created along with Gregory T. Christopher & Karla Lant.  This is a case of too many cooks not spoiling the stew.  Which in this case, is made with prime sirloin.

The amazing rap narrator, Boxman (Chesney Show) holds everything together with his sound effects and rhythmic backup.  There is Mr. Macho Bass (incredible Steve French) Alto (Celisse Henderson) who will knock your socks off with her MTA clerk’s attitude and a Texas Mama visiting her not quite out of the closet son Trent (Tenor Tommar Wilson) who sings one of the best numbers “Choosing Not to Know”.  Hannah Laird is Ali (Soprano) a Marathon runner on Weight Watchers who garners great sympathy with “The Moving Song”.  As temp worker Jane searching for stardom Denise Summerford (Mezzo) delivers both comic timing and a heartfelt yearning for new date, Nate (Baritone Graham Stevens) who is the poor sole who has to deal with the MTA booth clerk.

Any show lucky enough to get Anna Louizos as set designer has to be special.  “In Transit” is no exception.  Ms. Louizos has replicated an ideal subway platform with panels that rise and fall to accommodate other locations, movable columns and subway seats on rollers that allow for swift transitions that make this journey on the New York subway system run smoothly without any glitches or delays.

www.primarystages.org

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Had “The Pitman Painters” written by Lee Hall ended at the conclusion of Act I where the group of miners who have been taking art appreciation classes to expand their horizons and have themselves dabbled in creating pictures realize what art is and how it has changed their lives and outlook on life I could heartily recommend the production that has just opened at the MTC Samuel J. Friedman Theatre. 

Unfortunately there is a second act that changes gears so drastically that it almost is another play.  Where Act I is intriguing, informative and inspirational – Act II goes down the tedious socialist political path and alienates us from all the good will that has been fostered in the previous act.

Spanning from 1934 to 1947, this true story of British miners known as The Ashington Group, who unexpectedly become well know artists, is truly fascinating.  Director Max Roberts makes great use of three screens to project their enlarged works on the otherwise drab but realistic set by Gary McCann.

The uniformly excellent cast has been imported from London.  They lend great authenticity and humor to the play.  Miners, that dress in suits and ties to attend the lessons imparted by instructor Robert Lyon (Ian Kelly) who almost immediately decides that rather than showing them slides about art that it would be far better to have attempt to paint from their own perspective on subjects chosen by him every week.  What emerges are some wonderful naive works of art with comments that are comical as well as logical to those men from the mines.

Hesitant at first and not knowing the first thing about art or artists the miners who have come out of curiosity or to get away from their wives or merely to keep warm slowly begin to enjoy these meetings especially when their tutor brings in a live female model (Lisa McGrillis) to pose naked for them.

When a wealthy art patron, Helen Sutherland (Phillippa Wilson) becomes interested in the most gifted of the men, Oliver (Christopher Connel) he has to decide whether to stay with the group or go out on his own – receiving a stipend from her.  This is where the story starts its downhill trajectory and where their instructor uses the group to further his own career.

The characters which include Union leader George Brown (Deka Walmsley), dental technician Harry Wilson (Michael Hodgson), Jimmy Floyd (a very amusing David Whitaker) and a shy hanger-on Young Lad (Brian Lonsdale) are brought to vivid life.

The permanent collection of their art resides at the Woodhorn Colliery Museum in Newcastle.  “The Pitman Painters” was inspired by a book by William Feaver.

www.ManhattanTheatreClub.com  Photo:  Joan Marcus

Tags:   Lee Hall · Max RobertsNo Comments.

Cherry Jones has teamed up once again with her director of choice Doug Hughes after a four year absence on Broadway.  He and she both won the Tony in 2005 for “Doubt”.  Can lightning strike twice?

This time ‘round he is directing her in a revival of George Bernard Shaw’s “Mrs. Warren’s Profession” at the American Airlines Theatre.  In case you are not a fan of Shaw who can become verbose to a fault at times, the profession of Mrs. Warren is that of a co-owner of a chain of very profitable brothels.  She herself started from scratch on her back so to speak and that leads to “the confessional” to her daughter Vivie (Sally Hawkins) in Act I of this extremely handsome production designed by Scott Pask.

They hardly know each other and throughout the play they are at odds with one another except for a brief reconciliation after the “confessional” where Kitty, Mrs. Warren, gives her daughter advice somewhat akin to what Polonius gives to his son in Hamlet.  To no avail, however.  Vivie is an unconventional, well educated young lady who has lived well due to her mother’s wealth.  When she discovers just how Mama obtained this wealth she rebels and that leads to the “confrontation” in Act II.

That’s it in a nutshell.  Two wonderful roles for women.  Cherry Jones is feisty, flirtatious and has a natural swagger bordering on a Mae West impression.  She looks magnificent in the outfits designed by Catherine Zuber, is smart and not about to take any lip from anybody.  She is her own self made woman who wants desperately to protect the daughter that she loves dearly despite being “a bit of a vulgarian”.  It’s a powerful and uninhibited performance.

Vivie hasn’t fallen far from the tree that bore her, despite not knowing who her father is.  Unfortunately with two dialect coaches in the wings Ms. Hawkins choice of accent leaves one wondering what it is she has said most of the time.  She’s a prude and disproves of her mother’s profession, is tense, strident and combative.  If only we could decipher the words “struggling on her tongue,” to quote Shaw himself.

On to the men.  Most of who are friends in a rather intimate way from Mrs. Warren’s past.  Edward Hibbert is Edward Hibbert.  Mark Harelik is George (co-brothel chain owner) who puts the make on Vivie, offering her a luxurious life which she will have nothing to do with.  She wants to earn her own way in an acceptable profession opting to remain single despite her attraction to Frank Gardner (Adam Driver) who is by far the best male member of the cast.  He has a wonderful reserved humor and honesty about him.  He wants to marry Vivie despite the fact that he has no money and is a gambler.  As the son of the Rector whose relationship with Kitty seems to be written on the lovely garden hedges foreshadowing the future Michael Siberry puts forth an amusing portrayal.

For fans of Shaw and Cherry Jones this is a grand, beautifully designed opportunity.

Photo:  Joan Marcus

www.roundabouttheatre.org

Tags:   Adam Driver · Cherry Jones · Doug Hughes · Edward Hibbert · Mark Harelik · Michael Siberry · Sally HawkinsNo Comments.

As part of the New York Musical Theatre Festival, “The Most Ridiculous Thing You Ever Hoid” harkens back to the days of yore where The Five Star Radio Theatre offered up free entertainment.  In this case The Marx Brothers. 

Creators Andy Seiler (Book & Lyrics) Jim Beckerman (Book, Music & Lyrics) and Fred Wemyss (Book) have based this loony, zany and fun show on “The Flywheel, Shyster, and Flywheel” 1932 radio series where Grouch as a shifty lawyer and Chico his shifty assistant had a one season run that left 26 episodes to mine.

From the moment Erik Lieberman enters as Groucho you just know you are in for a good time.  Mr. Lieberman is the embodiment of Mr. Marx.  He has the look, the comic timing and the personality down pat.  This is a close to a cloning as you can get.  He is aided and abetted in his antics by Jared Miller (Chico/Ravelli) and Jonathan Randall Silver as the horn honking Harpo who is in charge of the sound effects.  The rest of the cast couldn’t be better to bring to life the endless groan inducing gags, double entendres, puns and play on words and zany antics of the ridiculous plot.

Mrs. Van Regal (Liliane Klein) – the Margaret Dumont type character who is the comic foil for Groucho is planning her daughter Kitty’s (Ashley Fox Linton) wedding to Broadway show tune writer Carlyle (Warren Freeman) and hires Chico to guard her family diamond.  Radio announcer John Fico plays multiple roles to the hilt as does Michelle Pruiett.  As part of the Oil Well Sisters who sing the commercials along with Ms. Klein and Ms. Linton they are a harmonious hoot.

At times the radio series becomes a bit tedious and too long before we get to the wonderful period songs and production “novelty” numbers – “Babes in Baghdad” and “Slimy Rhythm” – which are terrifically staged by director Donald Brenner.

“The Most Ridiculous Thing You Ever Hoid” is just that.  And tons of fun.  At Urban Stages.

www.RidiculousThingTheMusical.com

Tags:   Ashley Fox Linton · Donald Brenner · Erik Liberman · Jared Miller · John Fico · Jonathan Randell Silver · Liliane Klein · Michelle Pruiett · Warren FreemanNo Comments.

At the core of the most engaging and unconventional staging of Noel Coward’s “Brief Encounter” by the inventive and romantic director Emma Rice at Studio 54, which is based on the 1945 David Lean film and the original play “Still Life” by Mr. Coward, is the thwarted, painful and unacceptable love affair between Laura (Hannah Yelland) and Alec (Tristan Sturrock) – both married to others, both with children and both tragically thrown together at a railroad station one day, circa 1938, when Laura gets a cinder in her eye that Alec, a doctor removes. 

And thus begins their journey of meeting once a week on a Thursday to have tea and take in the pictures at a matinee.  All is innocent at first but it fast becomes apparent that they are falling madly, helplessly in love with one another.  But because of the mores of the times Laura feels guilty, indecent and degraded.  As one character says, “It’ll end in tears.”   

If this relationship is not heartfelt and honest all will fall apart.  Thankfully both Hannah Yelland and Tristan Sturrock are two of the most in love people on Broadway you’ll ever see.  Their intimate scenes are fraught with pent up frustration and the excitement of new love.   And then there is the sweeping, romantic Piano Concerto #2 By Rachmaninoff to help any of those who resist the temptation to be enticed.

Surrounding them are the most wonderful supporting players, character actors all, that are amusing and entertain us with some of Noel Coward’s songs with on stage combo that is just right.  The titles alone clue us in as to what Laura and Alec are experiencing:  “No Good at Love”, “Mad About the Boy”, “Go Slow Johnny” (one of the best love scenes ever staged) “Romantic Fool” and “A Room With a View” sung wistfully by Alec with a ukulele.

These two couples Beryl and Stanley (Dorothy Atkinson and Gabriel Ebert) and Myrtle and Albert (Annette Mc Laughlin and Joseph Alessi) both of a lower class have not the same mind set and freely cavort and flirt and carry on with one another.

Mr. Alessi amazingly doubles as the uncaring, pipe smoking husband of Laura.  We never see the wife of Alec.  Where Laura has doubts about continuing on, nevertheless she finds herself doing just that frustrating Alec even more who is more than ready.

The production itself is a scenic wonder, combining film footage with a screen that allows the actors to step into the movie, chandeliers that allow the lovers to take flight and trains whizzing by either in miniature or on an instant screen that is pulled across the stage.

This Kneehigh Theatre production of “Brief Encounter” had an all too brief run last December at St. Ann’s Warehouse .   Now’s your time to be enthralled by it at Studio 54.  www.roundabouttheatre.org

Photo:  Joan Marcus

Tags:   Annette McLaughlin · Doroty Atkinson · Emma Rice · Gabriel Ebert · Hannah Yelland · Joseph Alessi · Tristan SturrockNo Comments.

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Matt Farabee & Andrew Garman

As I left The Wild Project on East 3^rd Street between Avenues A & B where I had just seen “A Bright New Boise” by Samuel D. Hunter as it ends its added performances run on Oct 2^nd I couldn’t help but wonder what all the critical praise was about.

Yes, the acting from all the members of the five person cast is excellent.  More than excellent, in fact.  They bring out all the despair and dark humor inherent in the characters written by Mr. Hunter.  The direction by Davis McCallum is solid.  The set (Jason Simms) is appropriately functional in a Boise corporate way with a glass window that lets us see characters racing by or reacting through the glass which is a nice inventive touch.  

Andrew Garman as Will – a shy disgraced member of a nondenominational “cult” Church where the pastor is under arrest for allowing a young man to die, comes to Boise to get a minimum wage paying job at “Hobby Lobby” a craft store in order to reconnect with his son Alex (Matt Farabee) who he had put up for adoption. 

Alex, prone to having panic attacks, is now living with foster parents and has unrealized dreams of becoming a songwriter/ performer and is working at the store.  His co-worker and half brother Leroy (John Patrick Doherty) has visions of being an artist and is extremely protective in a menacing way, wary that the seemingly fanatical Will, will try to convert Alex. 

Pauline (Danielle Slavick) the fast talking, potty mouthed manager of Hobby Lobby is trying to keep all in order as the situation begins to unravel.  Sarah Nina Hayon (Anna) another lost sole worker who loves to read and spend time after hours in the break room after secretly hiding out till the store closes tries to befriend Will and offers to listen to him read her his blog/novel about “The Rapture”.

Basically that is it.  Except for the script itself which I found problematic and overflowing with religious belief jargon that takes the play into another realm all together while losing touch with the basic reason Will came back to Boise – to reconnect with his son.

There are two abrupt endings.  One for each act that leaves one wondering what happened.

www.partialcomfort.org                 www.thewildproject.com

Photo:  Stephen Taylor

Tags:   Andrew Garman · Danielle Slavick · Davis McCallum · John Patrick Doherty · Matt Farabee · Samuel D. Hunter · Sarah Nina HayonNo Comments.

Stephen Plunkett & Maureen Sebastian

Now Circa Then – where the past and present bond beautifully at Ars Nova is a worthy and much welcomed addition to the 2010 theatrical season and you should make every effort to see it.

One of the many wonderful aspects about the play written by Carly Mensch is that the audience is always kept on alert.  We never know what’s coming next.  It’s an original take on the relationship of two couples played expertly and with fine character nuance by both Stephen Plunkett (who has a tinge of Jack Lemon going for him) and Maureen Sebastian (who is remarkably humane and so very funny).  Now Circa Then is refreshing, delightful, charming and intelligent. 

Yes, intelligent without any elitism and yet surprisingly heartfelt at the same time.  The dialogue sparkles.  And draws you in to the lives of Gideon and Margie –  a modern day couple that fate has thrown together in a museum where they are hired “re-enactors” – actors telling the story of Julian and Josephine, an immigrant couple on New York’s Lower East Side, circa 1890.

Only Margie isn’t an actress.  She has recently moved to New York from Michigan to reinvent herself, is short of cash and desperately in need of a job – which she just happens to get alongside of Gideon who is passionate about history and wary of this newcomer. 

The play takes place in a reconstructed railroad tenement apartment – parlor, kitchen and bedroom.  It’s remarkable what set designer Lauren Helpern has accomplished through the sheer magic of theatrical ingenuity.

Enhanced by the atmospheric lighting by Traci Klainer who bathes each scene with finesse and ups the wattage when Gideon and Margie are reenacting the historical or rather hysterical tour for the audience which focuses on the lives of Julian and Josephine.

Costumes by Jenny Mannis and original music and sound by Ryan Rumery add to the period authenticity.

Director Jason Eagan has brought all of these factors beautifully together to make Now Circa Then the extremely exciting event it is.  As the relationship develops between Gideon and Margie and nerves frazzle their story starts to be included and to interrupt the tour story of Julian and Josephine.

You will like these characters.  Care for them. Be moved by them.  Perhaps even identify with them.  I loved this production.

www.arsnovanyc.com  Through Oct 9^th    Tickets $25.00     212 352 3101

Photo: Carol Rosegg

Tags:   ars nova · Carly Mensch · Jason Eagan · Maureen Sebastian · Stephen PlunkettNo Comments.

Francesca Faridany & David Greenspan

Totally theatrical.  With neither a vibrator in sight nor a maid speaking Spanish the Classic Stage Company along with adapter Sarah Ruhl and a design team that has done wonders within the small confines of the theatre on East 13^th Street have come up with a stylish and stylized, fantastical production of Virginia Woolf’s “Orlando”, where sexual identities are examined and blurred.

Where Orlando, a poet at heart – a riveting Francesca Faridany – starts out as a sixteen year old boy adept at swordsmanship in Elizabethan England, is wooed by none other than Queen Elizabeth I (a delightful as usual David Greenspan) falls in love with Sasha, a Russian Princess who disappoints (Annika Boras’ accent becomes grating and unintelligible despite her beauty), is pursued by a demanding Arch Duchess (another coup for Mr. Greenspan) that results in his escaping to Constantinople where after a night of debauchery he falls asleep and awakens as a full blown woman.  This transition is just one of the stunning visual aspects of this classic production.

The costumes (Anita Yavich) are simple yet clever.  The wedding gown and bridal hat of a cardboard boat and elongated lace veil that soars to the top of the theatre is breathtaking as is the Elizabeth I gown that descends from above and is affixed to a very amusing and majestic Mr. Greenspan.  The scenic design by Allen Moyer beautifully adds to the visual richness.

As directed by Rebecca Taichman, Orlando takes on the look of a “tableau vivant”, with measured, courtly steps provided by choreographer Annie-B Parson resulting in a fluidity that is sometimes a bit sterile where a more sensual feeling would be welcomed.

Sarah Ruhl has opted to adapt Orlando in true “story theatre” fashion.  That is, the actors narrate the story as well as act the various characters.  The ensemble of three men (Tom Nelis, Howard Overshown and the aforementioned Mr. Greenspan) play both men and women.  And dogs.  And birds.  It’s a clever conceit that fits Virginia Woolf’s Orlando like a silk glove.

www.classicstage.org Through Oct 17^th.    Photo:  Joan Marcus

Tags:   Allen Moyer · Anita Yavich · Annie-B Taichman · David Greenspan · Rebecca Taichman · Sarah Ruhl · Virginia WoolfComments Off on Orlando at Classic Stage Company

Will Mr. Rogers have to close his Health Food store in the Hood, giving up on his dream?  Will his ten year old son Eric find the secret to his recipe of herbal iced tea to cure all broken hearts in his lab at home?  Will Dre, an HIV addict who works for Mr. Rogers and is awaiting the imminent birth of his first child be strong enough to break the cycle of failure instilled in his psyche?  Will ‘Twon, pal of Mr. Rogers’ son and recent high school graduate be able to continue on to college and not get his girl friend pregnant?  Will Isaac a 40 year old, unmarried music executive and ‘Twon’s mentor be able to finally face up to his father, an obese Minister who craves HoHos and tell him the truth?

These characters and their black experience problems are brought to vivid life by one man.  Daniel Beaty.  A humble and passionate actor bursting with talent who also created these stock characters.   But in the hands of Mr. Beaty who is a master of the spoken word, with a majestic voice that can bellow and then turn poetic in the blink of an eye these characters will amuse and beguile you.  Mr. Beaty’s strong underlying message of faith, hope and taking care of the children is omnipresent.  To do whatever it takes, despite seemingly insurmountable obstacles to make it through the night.

On a simple but elegant set by Alexander V. Nichols who also is responsible for the lighting and projections (that help define the fast changing locations) Mr. Beaty under the skilled and slick direction of Charles Randolph-Wright makes his plea for educating children, aiming for something big, being persistent and paying tribute to the strong, willful and hard working black women that are the backbone of the black male experience.

Memorable is the mother of Issac who gets her son the education he deserves and the teary eyed tribute to Mr. Rogers’ mother, the Angel & the Demon on the Minister’s shoulders urging him to feast or fast in rhyme, the imagined “gay” sermon that the Minister’s son wish he could give and the innocent yearnings of the ten year old boy to help his dad who smiles but has such sad eyes.

The only thing that took me out of Mr. Beaty’s bravura performance was a young women sitting next to me who was eating a vegan pita during the show.  Did she really have to eat in the theatre?  I have to agree with the Minister whose wife wants him to stop fast food and become a vegan.  “Vegan doesn’t even sound tasty.”  It doesn’t look very tasty either from what I observed next to me.

www.throughthenightonstage.com  At the Union Square Theatre 100East 17^th Street

Photo: Carol Rosegg

Tags:   Charles Randolph-Wright · Daniel Beaty · Shine the LightNo Comments.