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The Big GAY Sing!
A Sing-a-Long Extravaganza

March 27th 8:00PM

Skirball Center for Performing Arts
566 LaGuardia Pl (Washington Sq S) New York, NY

Hosted by the award-winning comedian and celebrity interviewer Scott Nevins, the evening will feature your favorite “gay” songs, diva-licious appearances from surprise guests, a chance to sing “Tomorrow” with Broadway’s original Annie, Andrea McArdle, and the chance to interact with the boys both on and off of the choral risers. The fabulousity begins the moment you enter down the red carpet, interviewed by our very own Joan Rivers impersonator, Holly Faris, all the way through our over-the-top grand finale.

This fun-filled and hilarious (yet somehow deeply glamorous) sing-a-long evening features all of your favorite gay songs. It’s karaoke with glitter- all the show-tunes you can sing, plus ABBA, Beyonce, Frank Sinatra, Madonna, Judy, Tammy Wynette, Barbra, and many more! The “Make You a Star” segment of the show will feature lucky members from the audience who will get complete makeovers and end up starring in our big production number from the musical Grease!”

“We’ve always said that NYCGMC was a community experience,” says Artistic Director Charles Beale, “and this show will certainly be a community experience. Everyone gets into the act in this one. Whether you’re a Madonna fanatic or a Judy fan, a show queen or a disco queen, a gay man or an honorary gay man with a yen for ABBA, this show has got something for everyone!”

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33 Variations is not only an excellent, elegant and very theatrical play written by Moises Kaufman but it is also the vehicle that has brought Jane Fonda triumphantly back to the New York stage after an absence of forty six years – portraying musicologist, Dr. Katherine Brandt, who is obsessed with discovering why Beethoven became equally obsessed with an insignificant waltz written by his music publisher Anton Diabelli – so much so that instead of the single variation requested, Ludwig went on to write 33 – keeping “the Diabelli Variations” from being published for many years.  This is no mere documentary-like history lesson, this is a remarkably poignant and oft times amusing examination of the lives of two equally obsessed artists.

Dr. Brandt is slowing wasting away, dying of Lou Gehrig’s disease.  She is deteriorating daily but that won’t stop her from leaving behind her grown but unstable (or so she believes) daughter Clara (a remarkable Samantha Mathias) who to put it mildly, she has a strained relationship with – and flying off to Bonn, Germany to find the answers to her questions by searching through the archives of Beethoven’s variations with the aid of Dr. Gertrude Ladenburger (a compassionate and very droll Susan Kellermann).  Beethoven (a tyrannical Zach Grenier) is also deteriorating – going deaf and a bit mad trying to finish the variations that he can’t seem to finish.  There is always one more.

It is a most fascinating journey.  Brilliantly directed by Mr. Kaufman – as we witness both stories being played out simultaneously, being interwoven – the past and the present – on the stage of the Eugene O’Neill Theatre where we are surrounded by the archives and masses of musical manuscripts (Scenic Design – Derek McLane and wonderfully lit by David Lander) with Diane Walsh off to one side playing the “Variations” beautifully and unobtrusively when needed.  It is a most exciting and exhilarating evening of theatrical surprises.

As the nurse who is taking care of Dr. Brandt, Colin Hanks is a natural, easy going guy.  Always saying something that comes out the wrong way or is taken the wrong way.  He is endearing as he falls in love with Clara.  Their scenes together are a joy – a mini romantic comedy amidst the dramatic turmoil around them.  Erik Steele as Anton Schindler, biographer of Beethoven and put upon manservant, is marvelous in fleshing out his complicated dealings with Beethoven.  Don Amendolia as Anton Diabelli who literally goes from rags to riches while waiting for the variations to be finished is first rate.

But the evening belongs to Jane Fonda as she takes command of the stage from her very first entrance to her final standing ovation.  From standing erect and being a tower of strength and hiding her emotions to slowing using a walker and then a wheel chair she is the consummate artist, slowly coming to grip with her destiny and relationship with her daughter and life itself.   She looks fabulous and has that distinctive Fonda voice that can say so much with a pause or an inflection.  She wants to bare her soul but it finds it difficult to do so and that adds so much more to the already wonderful text.  I highly recommend this production.  You will not be disappointed.  You will be thrilled.  15 WEEKS ONLY!    www.33variations.com

Tags:   Beethoven · Jane Fonda · Moises Kaufman1 Comment

Opening at the still existent Ohio Theatre on Wooster Street is red-haired thomas written by Robert Lyons, founding Artistic Director of the Soho Think Tank and directed by Oliver Butler, co-Artistic Director of The Debate Society.  You would think that between the two of them they could come up with a better production.  At least one that made sense.  Common sense.  But that’s Thomas Paine.  Not Thomas Jefferson (Alan Benditt).  One of the characters in this mixed-up, chock full of metaphors, dreamlike play that has pretensions of being a political satire where everyone has the right to pursue happiness.

The core of the play centers around a gambling husband, Cliff (Peter Sprague) down on his luck or is he simply playing cards by rote, unwilling to take a risk as he had in the past as his Risk Management wife, Marissa (Danielle Skraastad) suggests.  They have a red-haired daughter, Abby (Nicole Raphael) who thinks her dad should get a real job and stop with his sign language affection whenever they part.  Most of the dialogue is taken up with whether or not Abby in entitled to receive a full fare bus pass and how close their house is to the school and whether or not Cliff can come up with enough quarters if she isn’t.  Fascinated yet?

So, Cliff goes to buy a newspaper at Ifthikar’s (Danny Beiruti) news stand, where there are piles and piles and piles of newspapers (Set design: Tom Gleeson).  Ifthikar is an angry foreigner whose country never is on the front page – until later on in the play when he takes Cliff as a hostage and makes a video tape, threatening to decapitate him or at the very least slit his throat.  Cliff actually bought a paper to get some quarters and then asks for more quarters and there is a heated exchange about whether the customer is always right or let the buyer beware.  Still with me?

Then Cliff finds a twenty dollar bill with Jefferson’s hair made red by some kind of magic marker.  This bill has Cliff thinking his daughter will one day be President of the United States.  Ifthikar and Cliff have another heated exchange each vying for the twenty as he also has a daughter who could one day be President.  Ahha! But she has to have been born in America to be President.  Shades of “where was Obama born” seep in here without actually saying it.

Danny Beiruti and Danielle Skraastad are standouts in this mediocre drama that has little humor or enlightenment to offer.  Jefferson as played by Alan Benditt soaks his feet, wanders around and tries to tie everything together by telling us that Cliff and Ifthikar are his two sons – separated at birth and that each has similar problems – they are both freedom fighters and have to fight for their beliefs.  As it turns out the picture on the twenty is not Jefferson.  He’s on the two dollar bill.  Jackson is on the twenty.  That’s the history lesson for today.

www.sohothinktank.org

Tags:   Danielle Skraastad · Danny BeirutiNo Comments.

The Dog Run Rep at the South Street Seaport is presenting a new adaptation of Moliere’s  classic, controversial comedy Tartuffe  –  written in verse and rhyming couplets by Jeff Cohen  –  who is also credited with direction.  We all would have been better off if he had done neither.

Setting the piece in 1930’s New York seemed like a good idea.  We are supposed to see the great parallel between the original, the 30’s and now  –  where excessively wealthy people have been swindled out of their wealth by Tartuffe or if you like, his modern day incarnation, Bernard Madoff or Paul Lynde who the actor portraying Tartuffe (Tom Ford) seems to be channeling.  There is nothing in his performance to make us believe that he has the charm to dupe anyone out of anything.  And we are in the thirties where the stock market did the duping.  It just doesn’t work.  With all the French characters intact.  And what a bunch of characters as seen through the directorial eyes of Jeff Cohen there are.

Mrs. Pernelle, the wealthy Matriarch (Susan Jeffries) giving an impersonation of the Queen of England.  Dorine, the saucy maid (Deanna Henson) with an inconsistent Irish brogue.  Damis, the stuttering son (Aarron Costa Ganis) with an inconsistent stutter.  Marianne, the lisping daughter (Katie Asche) making believe she is Eloise of the Plaza.  Cleante, the verbose brother-in-law (Brian Linden) flitting around the stage.  Orgon, the wealthy father (Keith Buterbaugh) loud and boisterous and overacting to the point where we feel we are in some awful silent movie.  Valere, the romantic boyfriend (Rob Maitner) totally miscast and Mark DeFrancis who has the distinction of playing a cop from Brooklyn and Flipote – a maid in drag.  There is also a dog.

The only two members of the cast that survive this catastrophe are the stylish and totally competent Christina DeCicco as Elmire, the sexy step-mother.  She rises above the mire.  In the small part of Mr. Loyal, Jasper Soffer makes an excellent impression.  Too bad no one had the foresight to cast him as Tartuffe.  It might have made a big difference.  Then again, it probably wouldn’t have mattered considering the rest of the production.  I’ll wait to see him in something more substantial.

www.dogrunrep.org

Tags:   Christina DeCicco · Dog Run Rep · Jasper Soffer1 Comment

What can I possibly write to make you stop whatever it is you are doing and get tickets to see “A Little Night Music” which has just opened at the White Plains Performing Arts Center – the sophisticated and haunting look into the lives and loves of a group of early twentieth century Swedish citizens in three-quarter time.  Promises and lies.  Lost youth.  Lost love.  Wives and mistresses.  Repressed sexual desire.  Sex-capades during a weekend in the country.   Everyone with the wrong person.  All touched upon in the Stephen Sondheim (music and lyrics) and Hugh Wheeler (book) musical based on Ingmar Bergman’s “Smiles of a Summer Night”.

Do I start with the courage of Jack Batman, executive producer, to take on the monumental challenge of mounting such a difficult and complex show and pulling it off without a hitch?  Do I start with the mesmerizing Penny Fuller who is giving a deeply profound performance as Desiree Armfeldt – singing one of the best renditions of “Send in the Clowns” I’ve ever heard?  Do I start with the superb direction of Sidney J. Burgoyne?  The strength and inner turmoil of Mark Jacoby?  The naiveté of Erin Davie?  The great humor of Rachel de Benedet?  The bravura of Stephen R. Buntrock?  The Tony Award worthy performance of Sheila Smith?   There is a wealth of treasures to be found in this production.  It is a colossal achievement that each and every member of the cast and production team can be very proud of.

Every production at WPPAC is excellent.  But they have raised the bar on this one.  And have met the challenge.  On a sparse but perfectly suitable set (Michael Hotopp) with some period pieces of furniture with excellent costumes (T. Michael Hall) and exceptional lighting (Jesse Belsky) with a larger than usual orchestra, under the outstanding direction of James Bassi, Sondheim and Wheeler’s world waltzes into place.  It’s a beautiful production.  Even the set changes are executed with dance like movement – in striking silhouette.  Wonderful choices have been made.  Wonderful attention to detail makes for an elegant and thought provoking evening of musical theatre.

The voices.  Oh, those fabulous voices.  It is amazing that they were able to cast the most perfect person for each part.  Every single one has an incredible voice.  And without singers of this caliber to sing this difficult and clever score – forget it.   Did I mention how good the sound is (Wallace Flores)?  How the choreography and musical staging (Melissa Rae Mahon and Sean McKnight) keep the many scenes in swirling motion? How delightful and sexy is Petra (Laura D’Andre)?  How right and moving is Henrik (Eddie Egan)?  

There is always talk about “chemistry”.  Do they have it or not?  A Little Night Music has enough chemistry and sexual tension to cause a major explosion on Main Street, White Plains.  See it now.  In the most comfortable seats imaginable.  At an affordable price.  You might never get this chance again.  Unless it moves itself to Broadway.

www.wppac.com

Tags:   Jack Batman · Stephen Sondheim · WPPACNo Comments.

If you’ve had it with the downturn of the stock market.  If your eyes are sore from reading about job cuts, corporate greed, foreclosures, bank failures and the abysmal state of health care – you must make a bee line to the Triad Theater to be uplifted from all the glumness surrounding us at the moment and see the most wonderful show to have ever played at the Triad – It’s much more than a musical revue – it’s a well crafted, well thought out and performed “musical” – songs and stories of the Great Depression – conceived and directed by Bill Daugherty who also appears in the talented and diverse cast of six.  He of the heroic tenor voice and creative mind behind this very optimistic and moving two act show.  He who brought us the wonderful, Bistro Award winning “When The Lights Go On Again in 2008 – for Best Revue.  He’s got another winner here.  And it’s even better.

The parallels between then and now are truly frightening.  But with good songs and great lyrics from Tin Pan Alley and Hollywood, and strong leadership by FDR, America was able to withstand the horrors of the depression forced upon it by economic woes, horrific dust storms and mass unemployment.  Songs that offered hope and the promise of better times ahead.

A better selection could not have been assembled.  The first act commences with Bill Daugherty singing “I’m in the Market for You” – with a nod to Rudy Valley.  Most of the numbers are upbeat and humorous and then the tone changes with “Brother Can You Spare A Dime?” (Daugherty) and a fabulous rendition of “My Forgotten Man” by Deborah Tranelli.  “Sally Ann” featuring Morgan West & Spiff Weigand “take it on the chin and grin” with guitar and fiddle is exceptional.  Jennafer Newberry with a wounded innocence wows us with “Sweepin’ The Clouds Away” with her gorgeous voice.

The arrangements and musical direction by Doyle Newmyer (piano/keyboard) are varied and easy on the ears and well executed by John Loehrke (bass) and Spiff Wiegand (guitar/violin/mandolin). 

Act I ends with a powerful “Dusty Road” by Alexander Elisa.  Many of the songs start out as solos but then are fleshed out with the other members of the cast – some with lively dances by Lori Leshner.  In between we hear, via voice over, Eddie Cantor, Will Rogers, Herbert Hoover, Franklin and Eleanor Roosevelt.  It’s a great concept.

Act II is a bit darker but nonetheless as entertaining.  We see what folks had to do in order to survive.  Most original is having Morgan West sing “Love for Sale” as a male forced into prostitution.  Christina Morrell absolutely takes the stage with “A Hobo’s Lullaby” and “Cigarette, Cigars”.  What a fine actress and singer she is.

But optimism wins out with “The Clouds Will Soon Roll By” – “When My Ship Comes In” and the rousing anthem “Dawn of a New Day”.  The Great Depression lasted more than a decade.  Let’s hope that we survive the pickle that this country is in now and that we can keep the wolf at the door at bay and that it won’t be long before we can all sing “Happy Days Are Here Again” once more.  We got out of a huge mess before and we can do it again.  See this impressive show and it will make you feel a whole lot better.

Through June 14^th.   Tickets $45.00 212 352 3101 or www.theatermania.com

www.triadnyc.com

Tags:   Triad Theater1 Comment

Lauren Graham as Adelaide

Guys and Dolls, the revered, classic musical comedy written by Frank Loesser (Music and Lyrics) and Jo Swerling and Abe Burrows (Book) has recently been revived at the refurbished Nederlander Theatre and has received a slew of scathing and pretty scary reviews if you believe everything that you read.  So why has Guys and Dolls, under the direction of Des McAnuff, who is responsible for the huge hit Jersey Boys, been so reviled?

From what has been printed it appears that you will either love it or loathe it.  I am much closer to loving.  I had an extremely enjoyable time – most of the time.

No one can dispute the fact the score, which includes such standards as “I’ll Know”, “Adelaide’s Lament” ( “a person can develop a cold”) “If I Were a Bell” and “I’ve Never Been in Love Before” is first rate.  And that is such a plus in these days of musicals without many memorable tunes.  It also boasts a great book.  However, some of the dialogue is dated and some jokes so stale they just don’t land they way they used to.

The three tiered, on stage orchestra – much like a nightclub band of the thirties (the new time period for the show – which makes for some fun costumes by Paul Tazewell) remains hidden behind a screen where the controversial video projections (Dustin O’Neill) which are an integral part of the amazingly creative set (Robert Brill) are viewed.  Some have reported they cause motion sickness.  I thought they were terrific.  So, good score and good production values.   Now we come to the cast.

The delightful surprise is Lauren Graham – of “Gilmore Girls”.  Who would have ever imagined that she would make such a memorable Adelaide – the long suffering fiancée, engaged to Nathan Detroit for fourteen years, who works at singing and stripping while waiting for the ring to be placed on her lonely finger.  She is sensational and lights up the stage whenever she is on with her comic timing and clear as a bell voice.  One of the best numbers is “Take Back Your Mink” (choreographed by Sergio Trujillo – whose other dances are pulsating with sex and athleticism).  She alone is reason to see Guys and Dolls.

Kate Jennings Grant as Sarah the Salvation Army saver of lost gamblers is lovely to look at.  Lovely voice.  Just lovely.  I had hoped for a little more oomph!  As her gambler love interest, Sky Masterson, Craig Bierko has a fine baritone, has the looks and a smile to seduce and does what is called for very nicely.  Which leaves me to Nathan Detroit played by Oliver Platt.  Or should I say walked through by Oliver Platt.  I don’t understand his casting.  He is not funny.  At all.  What were they thinking?  Other over the top Damon Runyon characters come up to the bar – especially Titus Burgess as Nicely-Nicely Johnson, Mary Testa as General Cartwright and Jim Ortlieb as Sarah’s grandfather Arvide Abernathy who makes musical magic when he sings “More I Cannot Wish You”.   Second reason to see this show.  

In the second act we go down into the sewer where Nathan is holding his crap game.  Third and best reason to see this show.  It’s fabulous.  Getting there is half the fun.  The “Luck Be a Lady” numbers is tops.  Only outdone by “Sit Down, You’re Rockin’ the Boat.”  where Mary Testa wows her fans.  Second acts are always hardest to pull off.  But this one makes up for the deficiencies of the first.   The addition of “Damon Runyon” – Raymond Del Barrio – who book ends the show and is seen lurking about in scenes is a distraction and a case of more is less.

For all its talk about crap games and sinners, Guys and Dolls is basically about love.  About why someone falls for whomever and why it causes problems that have to be surmounted because you are in love with that person and that there is no explanation for that feeling.  Love is love.  That’s why Adelaide waits so long for her Nathan.  Why Sky shapes up and marries Sarah.  Frank Loesser must have been a truly romantic guy.

Tags:   Craig Bierko · Des McAnuff · Kate Jennings Grant · Lauren Graham · Mary Testa · Oliver Platt · Sergio Trujillo1 Comment

Director David Cromer

What if you were “weaned away from life” while giving birth to your second child and after being buried amongst family and friends in the local cemetery you wanted to return home to have one last look at what happened on your twelfth birthday because you were just not ready “not to wake up”.  That’s Emily Webb’s third act dilemma in the most wonderful production of Thornton Wilder’s OUR TOWN which has been given a remarkable and inventive revival at the Barrow Street Theatre, under the inspired and most original, fluid direction of David Cromer who also appears as the Stage Manager.

The Barrow Street Theatre has been reformatted – audience is on three sides of the small center acting area.  It is akin to attending a community meeting of the population of Grover’s Corner in the high school gymnasium.  Two tables and some chairs make do for the set.  The overhead lights, hardly theatrical lighting, are kept up throughout most of the first act, then they are dimmed.  The actors intermingle with the audience.  Walking between the aisles and you feel that you are an integral part of the intimate proceedings.  Thornton Wilder must be chatting up a storm with his cemetery friends about this one.  It is absolutely astounding.

With searing honesty the cast of twenty four with the able assist of the Stage Manager who breaks the action and the fourth wall – speaking to the audience and explaining and commenting on the action we are transformed into this world where family values come first. Where we witness the lives of Dr. Gibbs and newspaper editor Charles Webb and their respective families.  We feel the emotions that young Emily Webb and her neighbor young George Gibbs are experiencing through homework assignments, ice cream sodas, baseball practice, love and marriage, death and loss.  A vivid time capsule of all their lives – from 1901 through 1913. 

A thousand years from now this play will still resonate with its real and heartfelt sentiments.  This is the way they were, living and dying.  This is what is really important.  Being happy with your loved ones.  How life should be valued.  It all passes too quickly.

Every family should see this incredibly moving production where we are told that in order to love life we have to have life and to have life we have to love life and that we should not be blind to what is important.  To really look at each other to really listen to one another and to love one another before it is no longer possible to do that.  It’s a beautifully written, theatrical text that is brought to its full potential by this incredible ensemble cast.

Our Town is a must see.

www.barrowstreettheatre.com   www.ourtownoffbroadway.com

Tags:   Barrow Street Theatre · David CromerNo Comments.

In memory of the exceptional Horton Foote I thought I’d post my review of Dividing The Estate which first appeared on Talk Entertainment September 27, 2007.

DIVIDING THE ESTATE – Family Feud

What a family Horton Foote has conjured up in his latest offering DIVIDING THE ESTATE now playing at Primary Stages at 59E59 Theaters.  At ninety one years of age Mr. Foote continues to amaze.  Like some sort of magician he tackles the everyday problems of three generations of a Texas family and magically makes the mundane quite interesting and ultimately extremely amusing.  He takes his time getting there. For those people in a rush I simply suggest to sit back and listen and wait and I guarantee you will leave the theatre beaming.

The matriarch, Stella (an older, wiser, genteel and stubborn Elizabeth Ashley) has no intentions of doing any such thing as “dividing the estate” that has kept all three of her children, her grandson and three black servants on the payroll for so many years.  They have done well up until now.  But it is the eighties and the price of Texas oil has plummeted, cotton cannot be gown profitably, house foreclosures are on the rise and Stella’s brood all need more money to live in the custom to which they have become accustomed.  And horror or horrors, they might actually have to work for a living.  Or worse still, live together in Stella’s huge house.

Michael Wilson, the director, has done a fine job in clarifying and keeping the cast of thirteen on their toes – creating memorable characters who love to change the subject.  Mr. Foote supplying the not altogether unexpected but interesting story line and wonderful revelatory dialogue.   Little by little we get to know this family, their secrets and their foibles – all of which pays off beautifully in the final scene.

Every actor is the cast is superb.  And it is quite an ensemble.  Headed by the still raspy voiced Ashley who commands her family and the stage.  Penny Fuller is emotionally right as Lucille, giving a full rounded characterization.  Her son, Devon Abner, has a tough role as keeper of the estate books and trying to keep everyone happy – most of all himself.  Courting Pauline – a teacher and person concerned with subjects that the family would not rather even have to think about. 

Lewis (Gerald McRaney) is the drunken gambler son of Stella who needs ten thousand dollars because he’s gotten a very young hamburger helper – Cathleen (Kelana Richard)  in trouble.  But the best sibling is Mary Jo.  Determined to get her share of the spoils and get it right now thank you very much.  She’s a gossip and tells tall tales out of school and is an absolute riot in the part.  She is played by the phenomenal Hallie Foote.  It’s worth the price of admission to see this performance. 

Her boistrous husband Bob (James DeMarse) has his hands full with this one.  Their two bored daughters – Sissie (Nicole Lowrance) and Emily (Jenny Dare Paulin) give excellent comic supporting performances amidst all these towering actors. 

The staff in attendance – maid and cook and demi-Matriarch is deftly played by a powerful Lynda Gravatt.  Her helper, Kelena Richard does just fine.  Arthur French as the elder Doug who has been with the family forever and whose death causes some further complications – mainly the death of Stella – gives a fine tuned and touching portrayal of a man whose final wish is to be buried next to his mama when the time comes.

But all of this would not be possible without the humorous vision and fertile mind of Horton Foote who has written a play about a family in financial disarray that almost anyone could identify with.  Many of us have similar relatives and similar problems but we fail to see the humor of it all.  Mr. Foote is a master of this.

www.primarystages.com

Tags:   Horton FooteNo Comments.

Aaron Monaghan, Kerry Condon photo credit: Sara Krulwich

As a newly inducted member of the Outer Critics Circle, I am playing catch up with seeing shows that heretofore I could not get a press ticket to review.  The Cripple of Inishmaan by Martin McDonagh, written in 1999 opened last December – a joint production of the Atlantic Theater Company and the Druid Theatre Company at the Linda Gross Theater and has extended its run twice – now running through March 15^th, 2009.  And for a very good reason.  It’s an excellent production.

Mr. McDonagh has a wonderful lyrical style of writing which can be darkly humorous.  In The Cripple of Inishmaan which takes place in 1934 on the Island of Inishmaan off the west coast of Ireland he has the place populated with a curious mix of characters which allow the extraordinary ensemble company to portray their individual eccentricities to a tee which director Garry Hynes helps bring to vivid life. 

The two “aunties” Kate (Marie Mullen) the more negative of the two who can speak to a stone and have it reply and Eileen (Dearbhla Molloy) who cannot resist pilfering the sweets sent from America are forever worrying about Billy the Cripple (Aaron Monaghan) – who is in their care after both his parents died in a boating accident.  Or did they?  Billy the Cripple is unattractive and misshapen and spends his time wheezing and limping, reading, looking at cows, and trying to muster up enough courage to date Helen (Kerry Condon) the beautiful, tough and foul mouthed sister of Bartley (Laurence Kinlan) who has a tough time deciding on which candy he wants to choose and is forever being brow beaten by his sister.

It’s a boring life in this town.  The General Store that the aunties run is stocked with mostly peas and eggs and there is not much to do.  So gossip is always welcomed.  But at a price.  JohnnyPateenMike (David Pearse) is willing to deliver his very important choice bits of news for a slab of bacon or a can of peas or some eggs to help him out as he is caretaker of his ninety year old mom – Mammy (Patricia O’Connell) who likes to argue with her son and have a few shots of whiskey to get her heart started in the morning.   Mr. Pearse, with a single breath, can deliver the longest commentary of uninteresting local news.  That is, until he reveals that a film company from America has arrived to make a documentary – The Man of Aran.

Billy wants to audition.  And so he persuades BabbyBobby (Andrew Connolly) who has a boat to take him and Helen and Bartley off Island to try to get into the picture.  He does so by delivering a letter from the Doctor (John C. Vennema).   Has Billy got only three months to live?  Will he get the part?  Will he go to America or die?  Does he ever get to kiss Helen?  Will Mammy ever stop berating her son?  Will Mammy live forever?  Will we see blood shed?  Eggs crushed?  Will we learn the truth about Billy’s parents? 

They say the most horrible things to Billy the Cripple who only wants to be known as Billy.  We shouldn’t laugh but we do.  Aaron Monaghan’s performance is flawless.  How he doesn’t break his ankle is amazing.  He has a depth of character and his inner soul shines through.  He is heartbreaking and funny.  Mr. McDonagh has written him a beautiful part that twists and turns as much as his malformed feet – we never quite know what the truth is and where we are headed – but we are moved and enlightened during this incredible journey to the Island of Inishmann.

www.atlantictheater.org

Tags:   Atlantic Theater Company · Druid Theatre Company · Martin McDonaghNo Comments.