Oscar E Moore

What an impressive beginning.  First time playwright Alexi Kaye Campbell has actually written two plays – examining the male gay experience – and quite cleverly interwoven them into one which he has titled – “The Pride” which is enjoying a very healthy run at the Lucille Lortel Theatre.

His use of three characters set in London 1958 and 2008 works beautifully in telling the stories of Oliver (Ben Whishaw) and Philip (Hugh Dancy) and the woman in their lives – Sylvia (Andrea Riseborough).   

They really aren’t the same three characters per se.  They are six distinct people who have the same names for each story.  The characters they portray are very different in their manner of thinking and in their actions.  All this is made perfectly clear by the inventive and fluid direction of Joe Mantello.  With the changing of costumes that ring true for each period and having his actors transition themselves in and out of the shadows of the past and present scenes in front of darkened reflective mirrors he achieves an eeriness that is both intriguing and compelling.  The acting from all is extraordinarily good.

The first act is what I would call semi brilliant.  Focusing on the actions in 1958 where an uptight and in the closet Philip is married to prone to sleepless nights Sylvia who is working for the chain smoking writer of children’s books Oliver, we see how difficult it was for a gay man to admit to and live with his burden.  Philip tries very hard not to give in to his gayness while Olivier freely admits his love for him.  While Sylvia is away they meet and it sadly turns into an act of sexual violence.

We then meet the semi naked, completely openly gay Oliver of 2008 where he is role playing with a Man (Adam James) whom he has found on the internet and is paying for anonymous sex which he is prone to do, much to the chagrin of his boyfriend Philip who despite their love for each other has to call it quits over Oliver’s bad boy activities.  Sylvia here is the fag hag friend of the chain smoking, lonely and needy Oliver.  What troubled me most about their contemporary scenes is that even though he behaves promiscuously there is never any mention of the possibility of contracting any kind of disease as if it just didn’t exist.

The Act I living room set by David Zinn has to work for both periods.  It is better suited for the contemporary scenes.  Only the costumes by Mattie Ullrich work well for both periods.  But I’m nit picking.  The play is clever and thoughtful, well structured and enormously funny and powerful.

Act II is an open stage with some movable benches that must represent an office where magazine editor Peter (Adam James) is interviewing journalist Oliver for a freelance gay “keep it light” story he is to write about anonymous sex; a park where Sylvia meets with the Oliver of the past in a beautiful scene where she confronts him with the truth with the use, I’m afraid, of a gimmicky plot point or prop I should say (sitting in the rear of the orchestra I did miss some of her more quiet moments) – and the meeting room where a downtrodden Philip of the past goes to visit a Doctor (again an excellent Adam James) to cure himself of his gay tendencies with an horrific anti-gay therapy which leaves nothing to the imagination.

In “The Pride” in both past and present, the gay men aren’t happy.  Whether grappling with feelings they do not want to admit to or being free and open enough to do so they are deeply troubled.  Each era has its own set of depressing problems here.  Is that all there is to being gay?   www.mcctheater.org

Photo: Joan Marcus

Tags:   Adam James · Alexi Kaye Campbell · Andrea Riseborough · Ben Whishaw · Hugh Dancy · Joe MantelloNo Comments.

When the theatre program has an insert with an Equivocation Timeline that goes from 1533 through 1606 England where the play actually takes place and an Equivocation History outlining the Gunpowder Plot of 1605 and a short note pertaining to The King’s Men – the acting troupe that William Shakespeare belonged to and wrote for there is probably too much territory being covered in the play herein called “Equivocation” so that explanations are indeed necessary. 

And so it is with Bill Cain’s wordy, unfocused, occasionally amusing, mostly boring backstage look into the private life of Shakespeare – herein called Shag played by the most unlikely person to portray the Bard – John Pankow where he is commissioned by James I (a marvelous David Furr) through his lackey with a limp Sir Robert Cecil (a straight and sedate David Pittu) to turn a manuscript written by the King himself into a play (which must include witches) to be performed by his acting troupe – herein consisting of Richard (the always convincing Michael Countryman) who is a staunch supporter of Shakespeare and Armin (Remy Auberjonois whose very hairy chest does wonders for his portrayal of Lady Macbeth) and the aforementioned David Furr as an egocentric actor who will play any available role as long as it is the lead.  Charlotte Parry is Judith, the Shag’s daughter, who is quite unnecessary – although I did vastly enjoy her performance as she speaks asides to the audience telling us she detests theatre and soliloquies and that her mother likes to sleep with very young men. 

This is no “Shakespeare in Love” – that brilliant movie by Tom Stoppard.  This is Shakespeare in trouble.  Stoppard’s movie used Romeo and Juliet to weave its private witty tale of Will.  Cain uses Macbeth and the Gunpowder Plot about the failed attempt to blow up Parliament to weave confusion, trying to slip in some contemporary references (“Torture does not happen. It’s against the law”) and other inside Shakespearean jokes that at the performance I attended at least two people got before the foursome sitting behind me left at intermission.  They missed a second hanging in Act II.

The ill-defined direction by Garry Hynes does little to clarify the too many elements and layers inherent in the script.  The stark and depressing set by Francis O’Connor with its metal walls and doors doesn’t help much either.  He also is responsible for the budget conscious costumes.  One would think that they could afford a more regal robe for James I whose ratty ermine collar was one of the funnier aspects of the production.

The four King’s Men are asked to portray a variety of roles and they are all quite good.  However, David Furr is a standout.  But the play isn’t about his characters although you may leave the theatre thinking they are.

At New York City Center – Stage 1     www.mtc-nyc.org   Photo: Joan Marcus

Tags:   Bill Cain · Charlotte Parry · David Furr · David Pittu · Garry Hynes · John Pankow · Michael Countryman · Remy AuberjonoisComments Off on Equivocation – Shakespeare in Trouble at Manhattan Theatre Club

Confusion reigns at the Mitzi E. Newhouse Theater at Lincoln Center where “When the Rain Stops Falling” by Andrew Bovell is trying in vain to take us by storm under the direction of David Cromer who has done beautiful work with the very successful “Our Town” and the short lived “Brighton Beach Memoirs”.  Not even the talented Mr. Cromer who has assembled a bevy of able actors can help sort out and clarify the four generations of English and Australian families that populate this pretentious, puzzling and fishy play.

Not even the Family Tree included in the program helps, unless you get it ahead of time and study it preparing you for the test of patience you will need to sit through this almost two hour long saga which is damp and reeking with mold.

The play moves back in forth in time between 1959 and 2039 as the revolving turntables move clock and counter clockwise attempting to keep the audience awake (my neighbor slept through most of it) with some movement to enhance the bewildering, melancholy and tragic story of two interwoven families.  And herein starts the confusion.

It begins with an old man (Gabriel York – Michael Siberry) fighting the elements.  Sort of like King Lear when a fish falls from the sky after a torrential storm that has characters scurrying across the stage like rodents with umbrellas.  He has invited his estranged son, Andrew Price (Henry Vick) to lunch.  Fish, of course.

As it turns out he is the son of Gabriel Law (Will Rogers) and Gabrielle York, the younger (Susan Pourfar) – who fell in love and married in Australia while he was trying to find out about his father who abandoned him at the age of seven.  His alcoholic mother, Elizabeth Law, refuses to give him any information.  She is played by Mary Beth Hurt (the older) and Kate Blumberg (the younger) who is married to Henry the pedophile (Richard Topol) who is Gabriel Law’s dad.  As it turns out he also abducted the young brother of Gabrielle York who married his son.  Gabrielle York the younger (Susan Pourfar) and Victoria Clark (Gabrielle York, the older) whose dementia and unhappy marriage to Joe Ryan (Rod McLachlan) is just another part of the perplexing puzzle of a play that dares you to figure out what is happening – leaving you little time to enjoy what is happening.  

Enjoy?  These are very disturbed and sad people.  If I never meet a Gabriel or a Gabrielle again I shall be quite pleased.  As it turns out those rodents with umbrellas in the opening were just that – rodents trying to escape a sinking ship called “When the Rain Stops Falling”.   Performed without an intermission, it didn’t stop audience members from joining them before the plays end.  www.lct.org

Overheard while leaving:  Man No. 1 “It’s Greek tragedy.”  Man No.2 “It’s bullsh**.”

Just to even things out here, Mr. Bovell the playwright is also responsible for the screenplay for “Strictly Ballroom” – one of my all time favorite movies.

Tags:   Andrew Bovell · David CromerNo Comments.

The only miracle at the Circle in the Square, where the newest of the classic old revivals is being presented, is that the family friendly “The Miracle Worker” penned by William Gibson some 50 years ago still works on some level.

Particularly that of the performances of Matthew Modine as Captain Keller, Helen’s pompous and put upon father and that of the deaf and blind Helen herself Abigail Breslin and her resentful half brother James – Tobias Segal.  Despite Alison Pill’s valiant portrayal of Annie Sullivan I just didn’t feel connected with her cold performance which is in part the fault of director Kate Whoriskey and the theatre itself.  Or the shadow of Anne Bancroft, who created the role, lurking about.

Circle in the Square presents its plays in the round.  For “The Norman Conquests” it worked like a charm.  Unfortunately “The Miracle Worker” should have been housed elsewhere.  Here it comes across as a three ring circus with a Raymour and Flanigan furniture showroom floating above that is raised and lowered on wires.  I feared that a wire would break and come crashing down on one of the cast members.  Distracting, to say the least.

With its multi-patterned, three level floor depicting the outside garden of the Keller household where the famous water pump (here emotionally watered down) scene takes place, the dining room where much of a mess with the throwing of food and plates and spoons is created and Annie Sullivan’s living quarters where she painstakingly and persistently tries to connect with the young Helen by teaching her to realize that what is being signed in the palm of her hand are words that are meaningful things – too much is going on at times and we lose the intimacy that should be a result of playing in such close quarters.  It is so badly staged that oft times you miss the dialogue or are craning your neck to see between open door frames.

Due to mixed reviews the producers were thinking about posting a closing notice but didn’t, hoping that “word of mouth” would catch their intended audience – families.  “The Miracle Worker” is after all a family show that is truly inspirational.  But “word of mouth” has changed to “word of web” (reaching more people faster) and one can only hope that all the chat rooms and theater bloggers  find this production more compelling than I did.  And that “family priced seating” ensues, enabling families to see the pricey show.

www.miracleworkeronbroadway.com Photo: Joan Marcus

Tags:   Abigail Breslin · Alison Pill · Matthew Modine · Tobias Segal · William GibsonComments Off on The Miracle Worker – Starring Little Miss Sunshine

There is truly an extraordinary new voice on Broadway – wonderfully comic, humane and heartfelt. And that voice belongs to Geoffrey Nauffts.  His beautifully constructed play “Next Fall” has transferred from an extended successful run Off-Broadway and is now playing at the Helen Hayes Theatre for what I am sure will be a very long time.  See it.  You will be entertained and you will leave the theatre believing how precious life is and perhaps think about what is really relevant to your life.

It is by far the best new American play of the current season.  “Next Fall” addresses a variety of relationships and conflicting beliefs.  In the uncomfortable scenes between strangers more is sometimes said with the awkward silences, which says a lot about the art of the playwright and director Sheryl Kaller and the fine ensemble of actors that have settled down into their roles giving subtle and refined performances.

What follows is my original review written June 6^th 2009.  I have to say that I enjoyed “Next Fall” even more the second time around.    www.NextFallBroadway.com  Photo: Carol Rosegg

Next Fall – World Premiere of Geoffrey Nauffts’ gay drama

When is the right time to come out to your parents?  Will they ever be ready for that conversation?  Will they accept or discard you?  Is it okay to pray after sex?  All these questions and more are broached upon in the fine new drama Next Fall, by Geoffrey Nauffts, enacted by a superb cast, having its world premiere at the Peter Jay Sharp Theatre.

It’s a very moving, oft times amusing, emotional journey that not only deals with the rights that any gay person should have if one of them is ill but also touches on the Christian beliefs of Luke (Patrick Heusinger) an actor and his older boyfriend Adam (Patrick Breen) who is an atheist.

What happens when Luke “has the rug pulled out from under him” in an unexpected car accident and lays dying in a coma with the “organ transplant guy lurking around” and “only family” is allowed into his room? 

We first meet family and friends and lover in an attractive hospital waiting area (design by Wilson Chin) as they await the fate of Luke who is in a coma.  His homophobic father, aptly named Butch (Cotter Smith) is tough on everyone including his ex-wife Arlene (Connie Ray) who is dealing with her Puerto Rican dog problem and who understands very little about Jewish people or their culture.  Holly (Maddie Corman) is the owner of a candle shop where Adam works and Brandon (Sean Dugan) is an unassuming, quiet guy who seems to have something very important on his mind.

In flashback we see how Luke and Adam meet.  How they move into their new apartment.  How religious differences invade their bedroom.  The scenes are swift with wonderful, sharp and funny dialogue.  Intelligent direction by Sheryl Kaller is careful not to go into gay cliché-land.  As their relationship develops over a five year span – the hypochondriac Adam and the troubled but lovable Luke verbally spar over their opposing ideas of what happens after we die.  We feel sympathetic towards both of them.  But it is the problem of Luke coming out to his parents that causes the most tension.  And when the accident occurs and Adam is not allowed in to see Luke – that is where the real humanity of the play surges forth.

When Luke’s father is due to arrive in an unexpected visit, Luke tries to “de-gay” the apartment.  Adam wants him to tell his dad the truth.  It’s very hard on both of them.  As well as the parents who most probably know but do not want to speak of it. And it never really is spoken about.  And that is the power that this play has.  It reveals the characters and what they feel without actually verbalizing that very “touchy” subject.

Just witness Butch’s heart wrenching final moments with his son and the aftermath.  Be amazed at the tenderness of Luke’s mother’s understanding and how she helps Adam.  Feel the goose bumps as Adam and Butch confront each other over Luke’s comatose body, be enthralled by Brandon’s confession and be completely overwhelmed by Next Fall’s compelling resolution.  www.nakedangels.com

Tags:   Connie Ray · Cotter Smith · Geoffrey Nauffts · Maddie Corman · Patrick Breen · Patrick Heusinger · Sean Dugan · Sheryl Kaller1 Comment

Stay out of Spokane.  That is, if you do not want to have the horrible chopping off of your hand that Carmichael (a superb Christopher Walken in all his gory glory) the main character in Martin McDonagh’s new comedy noir “A Behanding in Spokane” has happen to him. 

It’s a long, convoluted and absurdly amusing story that has Mr. Walken searching 47 years to find that which is his – namely his left hand (cut off by a group of Hillbillies) – which has brought him to this seedy rat trap of an Hitchcockian hotel to purchase from a couple of weed dealing cons – the fair haired eternally looking aghast Marilyn (Zoe Kazan) and her black boyfriend Toby (Anthony Mackie who is likely to cry when things go bad or get worse as is the case here) who wind up being handcuffed to the radiator with a candle burning in a can of gasoline waiting to explode.

This is bizarre black comedy at its best.  It is horribly funny for all the wrong reasons.  Martin McDonagh has an imagination that delves deep into the outrageous and writes dialogue to match.  He is aided and abetted in this masterful crime by John Crowley who has directed with sinister glee a cast headed by Mr. Walken who is perfect in this part.  Looking dazed but in control of this spooky tale, his delivery is most original and his line readings always a surprise.  Intense and in the moment at all times he creates an unforgettable macabre character.

If you find offensive the rampant use of the “N” word, or F***ing this and F***ing that which is part of everyone’s speech pattern, or do not like the sight of dozens of dead hands strewn across the stage or might be adverse to the racism against gays and lesbians in particular or you are too logical or anal to accept some of the plot points you might want to open up your narrow mind and go for ninety minutes of unstoppable repulsive hilarity.

There are two other characters.  One seen and one unseen.  Sam Rockwell is Mervyn the clueless hotel reception guy who gets involved in the most unlikely manner having always dreamed that something like this would happen and he could be brave and save the day – like Mighty Mouse.  The other is Carmichael’s mother.  He first calls her after shooting the black guy in the closet and later on has an incredibly nutty conversation with her about a balloon up a tree.  Believe me you have to hear it to believe it.  It is priceless seeing Mr. Walken shift gears so subtly and completely while keeping the audience enthralled throughout.

Four characters.  Single set.  No intermission.  Hilarious.  In.  Out.  Have a great time and wonder about that pair of shoes you put on this morning.  You’ll understand when you go and you should.  At the Gerald Schoenfeld Theatre.  Final performance June 6^th.

www.abehandinginspokane.com   Photo:  Joan Marcus

Tags:   Anthony Mackie · Christopher Walken · John Crowley · Martin McDonagh · Sam Rockwell · Zoe KazanNo Comments.

Tommy Femia

Somewhere over the rainbow, somewhere between a gay cabaret act and a legit comedy with musical parodies is where you will find Tommy Femia in this drag star vehicle “Norma Doesmen” doing his best to satirize the classic Billy Wilder film noir “Sunset Boulevard” and its star Gloria Swanson who played Norma Desmond.  Get it?

If not, you will be clobbered over the head with sexual innuendos, wild acting styles, and outlandish costumes until you do.  If you are going to parody this classic you must be up to the challenge.  To parody the sardonic Billy Wilder one needs a razor sharp wit.  Stephen Stahl who wrote this odd piece of theatrical ridiculousness and who also directed with a heavy hand doesn’t.  Sexual jokes can only go so far to help a limp script.

Modern day references are all over the place – with particular offense being taken by bringing up things to look forward to: McCarthy, assassinations, sexually transmitted diseases and Anita Bryant which stopped what comedy there was cold in its tracks. 

Tastelessness abounds.  That is, except for the extremely well appointed Gothic set designed by James Lyons which includes the requisite stained glass windows, Persian carpet, potted ferns and dimly lit lights to flatter the aging or is it ageless star of the show – the faded, over sexed and delusional Norma of the silent screen who is seeking a comeback playing Salome. 

She’s gotten herself a writer – the young stud Joe Dillis (Bryan R. Caine) who plays deadpan against her histrionics.  He actually is quite good at times but a bit inconsistent whenever he isn’t narrating or having to deal with his narcoleptic girlfriend Betty ShaveHer (ouch!) played unconvincingly by Christina Giordano.  With all due respect she doesn’t have much to work with having to fall asleep often at the drop of a cue.

Norma’s Germanic butler Max (Ken Shepard) is required to wear the most embarrassing outfits and cavort around the stage with his feather duster like a lunatic let loose from an asylum.   Or has living with Norma taken its toll on him?  He does an outstanding job.

But the night belongs to Tommy Femia whose wild eyes dart around trying to focus on any reality available.  Taking stage center declaring that it is all about “Me! Me!!  Me!!!!  When he has good material he is great and when he doesn’t well it’s not his fault.  He does get to imitate Chaplin, tango, rub against Joe, get out a few very good one liners and run off stage often to change his elaborate if somewhat tacky costumes.  He has the character down pat.  But it’s not enough to sustain two acts of utter nonsense.

Norma Doesmen is not ready for her close-up.   At the Abingdon Theatre through March 28^th.

www.normadoesmen.com                               Photo:Milton Perry

Tags:   Bryan R. Caine · Christina Giordano · Ken Shepard · Tommy Femia1 Comment

Jim Brochu

Zero Mostel born Samuel Joel Mostel – renowned actor, legendary comedian, notorious House Un-American Activities Committee victim who refused to name names and abstract painter (who knew?) is alive and well and venting at the DR2 Theatre on East 15^th Street where Jim Brochu is zeroing in on the man named Zero in his one man magnum opus performance in his new play Zero Hour which has transferred from its very successful run at the Theatre at St. Clements.

For those skeptics who do not believe in reincarnation, buy a ticket to see Mr. Brochu and you will instantly become a believer.   He has the bulk.  The darting eyes and salacious tongue.  The mannerisms.  The voice.  The ferociousness and the finesse – a magnificient embodiment of the real Zero Mostel.  It is to his credit that you begin to believe that you are watching Zero give this interview to an unseen reporter from the New York Times and not the actor portraying Zero.

Not only is the performance worth the price of admission but the script is well crafted – roaringly funny at times, full of backstage anecdotes which include tales about George Abbott, David Merrick, Louis B. Mayer, Lucille Ball and Jerome Robbins whom he labels a loose lipped weasel of a genius.  Fate kept putting them together.  Robbins did name names; Zero didn’t resulting in ten years of blacklisting.  Robbins came in to fix “A Funny Thing Happened On The Way To The Forum” starring Zero and Brochu recreates brilliantly their chilling confrontation in front of the cast and crew.  They joined forces again with “Fiddler on the Roof” overcoming personal differences for the creation of art.

Mr. Mostel was a man of contradictions.  Always feeling excluded.  Always wanting to be in the spotlight and then not.  Retreating to his Studio on West 28^th to paint away the fears and the paranoia – where his Catholic wife Kathryn keeps calling to remind him to bring home some sour cream from Zabar’s and where he found solace recuperating from being hit by a bus which resulted in the near amputation of his leg and his relieved exit from a flop.

But most of the drama in the two act Zero Hour comes from the time when he was under scrutiny by the FBI regarding his communist affiliations.  It is in these scenes that you see the pent up anger explode – like a human volcano slowly erupting, spewing forth his rage at the “intellectual final solution to eliminate thought” – his hatred for Jerome Robbins festering and his fury over his best friend Paul Loeb jumping to his death after being blacklisted.  It’s an amazing piece of writing, performance and direction by Piper Laurie – who has just the right touch and tone for each segment of this intimate and impassioned portrait of an artist.  Zero Hour is the best one man show ever!

 www.zerohourshow.com             Photo:  Stan Barouh

Tags:   Jim Brochu · Piper Laurie · Zero MostelNo Comments.

Brian Murray & Melissa Errico

On a beautifully designed Victorian set, rich with details and carpets, by Tony Walton – who has also directed this new production of Candida by George Bernard Shaw – Brian Murray as Mister Burgess – Candida’s irascible and delightful scoundrel of a father who slowly realizes everyone else is “mad” –  just about pulls the rugs out from under everyone on stage at the intimate Irish Rep with his masterful and understated comic performance which brings to vibrant life this otherwise staid relic of a play.

But I suppose if G B Shaw had not written this odd love triangle of a play he might not have written Pygmalion and then we would never have had My Fair Lady.  So it’s a good thing that he got it out of his system early on.

The production is just fine.  It’s just that the play itself leaves much to be desired.  The Rev. James Morrell (a too uncharismatic Ciaran O’Reilly) is happily married and deeply in love with Candida (the beautiful Melissa Errico) who has been away on vacation for three weeks.  She brings home a souvenir.  Eugene Marchbanks (Sam Underwood), a shy eighteen year old poet who is also deeply in love with her, wanting to “rescue her” from her dull life.  The battle of who gets Candida ensues with a lot of talk that could lull you to sleep if not for Brian Murray and his excellent supporting players: Josh Grisetti (an excellently precise Rev. Alexander Mill – Morell’s curate) and Xanthe Elbrick (a totally efficient and somewhat tipsy Miss Proserpine Garnett (Morell’s typist and I think her typewriter is lacking a ribbon).

Unfortunately there is little “love chemistry” between the three main players.  Not for a minute do you believe that this Candida could ever have fallen in love and married this particular Reverend who supposedly has the world enthralled with his sermons.  I think not.  Nor is there much of anything coming from the gangly, nervous and noble young Marchbanks who seems almost robotic in his musical comedy delivery.

The ravishing Ms. Errico must choose between them.   You might be surprised with her decision but then again you most probably already know with the many many production of this Shavian comedy produced over the years.

What might have spiced things up quite a bit would be to have Bruce Willis, Demi Moore and Ashton Kutcher acting out this imagined love triangle.

 www.irishrep.org   Photo:  Carol Rosegg

Tags:   Brian Murray · Ciaran O'Reilly · Josh Grisetti · Melissa Errico · Sam Underwood · The Irish Rep · Tony Walton · Xanthe ElbrickComments Off on Candida at the Irish Rep – Revived Relic by G B Shaw

Robbie Collier Sublett

How long a journey must a young Celtic lad, Finn McCool (part human, part magical, part hunk; straight out of a legend from pagan Ireland) travel to avenge his father’s death, fall in and out of love, meet up with a salmon who imparts knowledge, listen to his story being told by not one but three long winded storytellers at odds with each other, be wounded and impart wounds and finally learn that it is far better to win with words than with weapons?

The answer is an eternity.  It’s a very long one and a half hours on this ill conceived Mabou Mines adventure (directed by Sharon Fogarty – written by Jocelyn Clarke) which uses the latest digital technologies (Misha Films) to bring this ancient tale up to the 3D present.  Some of the videos are quite vivid and interesting.  The story isn’t.  It’s complicated to the point of not caring.

There is the young savage (Robbie Collier Sublett) with his naked torso and dreadlocked hair whose story is being relived as it is told by an old man (Jarlath Conroy) looking like Moses ready to part the Red Sea with his two assistants (Brandon Goodman & Dion Mucciacito) jumping in and out of the orchestra pit, acting very much like Tweedledee and Tweedledum – adding very little to this high school level performance.

With his magical spear, Mr. McCool – who isn’t –  finally finds his father’s magical treasure bag – the word magical is used throughout but there isn’t anything remotely magical happening on stage.  It’s downright boring (except for the video tricks).  About half way through a young voice was heard in the darkened theatre – which was lacking in audience members – “Is it over?”  It wasn’t and we all hoped it would soon be.  It wasn’t.  Droning on until the digitally enhanced bitter end.

Last performance is Sunday March 7^th @ 2PM.  Finn-ito!

Photo:  Paula Court

Tags:   Mabou MinesNo Comments.