The idea that dogs (so-called trauma dogs, in particular, but any of your furry companions) need to be ubiquitously present in everyone’s life seems to have taken a turn for the worse.
Victoria Clark is in the current parlance a multi-hyphenate talent; she is a recipient of the coveted Tony Award for her work on the Broadway stage. Her current gig as director of the excellent Conor McPherson adaptation of Strindberg’s Dance of Death adds lustre to a lustrous resume.
If you have had the privilege of seeing the play at Classic Stage Company (through March 10th), you will definitely want to hear the actress, singer, teacher and director in conversation with John Doyle on March 5th at 7 o’clock.
Doyle is CSC’s Artistic Director, and a Tony winning director himself. He is presenting the second installment of the Classic Conversation series, for March 5th featuring Clark.
Ted Sperling, who received a Tony when he worked with Clark on Light in the Piazza, will join to accompany Clark on the piano for the musical portion of the evening.
Sometimes it’s the setting, the social fabric of a place, that reflects the context of a work. August Strindberg set his plays in his native Sweden; these settings are often remote and austere; Strindberg’s characters are motivated by a psychology both familiar and alienating, sometimes even chilling.
Women scared Strindberg, it would seem. By today’s standards, his psychological viewpoint is positively regressive. His Julie is neurotic and a hysteric. Her wildness drove her fiancé away.
Yaël Farber roughly covers the same plot points. Her titular Mies Julie (Elise Kibler) is a wild child, distraught and adrift since her intended left her. She turns to John (James Udom), a servant in her father’s house for the strength she needs to exorcise her demons. Their love is fierce and cruel, and motivated by a dynamic different, but not alien to Strindberg’s.
Farber has placed Strindberg’s Miss Julie in a new context by setting her adaptation in the veldt. South Africa and its racial divide make a poignant if stereotyped backdrop for Farber’s Mies Julie.
The story is sensationalized, with lurid brutality and explicit sex. To be honest, I do not recall the Strindberg original well enough to judge, but there is nothing subtle in this heavy handed adaptation.
As I do recall, in the Strindberg version, Christine represented another betrayal; she was Jean’s girlfriend whom he abandoned for Julie. Here, Christine (Patrice Johnson Chevannes) is John’s mother who raised Mies Julie. Farber, and her director, Shariffa Ali, have also added an element of the supernatural in the figure of Ukhokho (Vinie Burrows), an ancestor whom only Christine sees.
Mies Julie, directed by Shariffa Ali plays in repertory with Conor McPherson’s adaptation of Strindberg’s Dance of Death, directed by Victoria Clark at Classic Stage Company through March 10th.
Love may be the antidote to death, or it may be its side dish.
For Edgar (Richard Topol) and Alice (Cassie Beck) in Conor McPherson’s adaptation of Strindberg’s Dance of Death, directed by Victoria Clark, it is the cruellest of emotions.
The couple, on the verge of their 25th anniversary, have never stopped torturing each other.
Alice invites her hapless, if not so innocent, cousin Kurt (Christopher Innvar) to visit in their remote island home. He is readily drawn into their lies and deceptions, deceits and insinuatons.
Watching Alice and Edgar in
their exquisite mutual torment is like the proverbial trainwreck: you are horrified yet cannot look away.
The acting of all three principles is so seamless that the escalations of the hurt are palpable, subtly-defined and well-choreographed. We are enthralled by the fiendish wiles and messy tangle in Edgar and Alice’s marriage, and riveted by Kurt’s engagement with them. Victoria Clark directs with a deft, light hand that allows us to see under the surface.
Strindberg is seldom on stage. If you have not seen him, let Conor McPherson introduce you to him. Dance of Death is a must-see production.
Conor McPherson’s adaptation of Strindberg’s Dance of Death, durected by Victoria Clark, plays in repertory with Yael Farber’s Mies Julie,
directed by Shariffa Ali at Classic Stage Company through March 10th.
Playwrights Horizons announced the release of a cast album of Kristen Childs’ rowdy, wild, and hilarious Bella: An American Tall Tale. Hard copies of the album, produced by Michael Croiter, can be purchased at yellowsoundlabel.com and phnyc.org beginning February 22, when it will also become available digitally on iTunes, Amazon, Spotify, and Apple Music. Pre-orders are available now via iTunes.
Ashley D. Kelley (as Bella), NaTasha Yvette Williams & Kenita R. Miller. Photo by Joan Marcus
There are many wrongs and omissions that can be righted by imagination. In fact, writers create imaginary characters to construct reality and ponder points of view.
Playwright Kristen Childs is one such, who expresses so many truths in her fiction. Her current work, Bella: An American Tall Tale, at Playwrights Horizons through July 2nd, 2017 is about so much more than a big-bootied pioneer woman of color.
The African-American history of the United States is different from the one taught in schools. That’s why we have Black History Month, that 1/12th of the year where we try to set the record a little straighter. We should just let Kristen Childs do it for us.
Our review was published after the June 12th opening.
There is a type of comedy in which the hero (or heroine) allows a sketchy friend to help him/her make a sketchy choice.
Poor judgement is funny, or at least leads to comic situations. Jason Bateman’s character in Extract, for instance, is lead down this path by Ben Affleck’s Dean, a dodgy fellow if ever there was one. And one guaranteed to make the worst suggestion in any circumstance.
This comic trope lets the main character remain heroic and redeemable. On other occasions, often the funny is in the delusional justifications for bad behavior.
Wrong decisions coupled with an indignant sense of righteousness (as Danny McBride exhibits in Arizona, for example) become hiliarious.
Complications arise from the initial missteps, and are compounded as the errors compound. The set-up builds to additional troubles in an onslaught of the outtrageous.
Subtlety is not, in fact is beside, the point.
The semi-annual Broadway Week event is coming up, although I sincerely wonder why they shun the “s.” The “week” always runs for 3, and this year it’s from Jan 21 to Feb 11.
It coincides, as it so often does, with another great NYC week, Restuarant Week, which also avoids the plurality. It runs from the 21st of January through February 8th.
The combined weeks allow the intrepid theater-goer to catch a bargain dinner at one of New York’s more expensive establishments and then head to the theater where s/he has scored 2 tickets for the price of one. This is what you call dinner and a show!
For 2019, our friends at NYCgo have added another “week” for which tourists should be especially greatful. It is called MUSTSEE2019 and allows us to get 2-for-1 tickets to New York attractions such as the Brooklyn Botanic Gardnes, the Bronx Zoo, the Houdini Museum or the Empire State Observatory.