Posted in 1986 bombing of El Al plane, activists, Andy Bragen, duped by love, Joseph Stiglitz, new work by Paul Taylor, Play Company, Public Forum Solo, Rich and Poor, The English Bride, The Public Theater

News from the rialto…

Just something I’ve always wanted to say. 

Not that we aren’t bringing notable tidings. 

Here are some things to look forward to, some near term, and others off in the distant– or maybe not so distant– 2014:

Michael Gabriel Goodfriend as Ali Said and Amy Griffin as Eileen Finney in
“The English Bride” at 59E59 Theaters through November 17th. 

Photo by Bob Eberle.
Love is a powerful narcotic, especially for someone who feels as unworthy of it as Eileen Finney (Amy Griffin) in Lucille Lichtblau’s “The English Bride.” Eileen is duped by love for an Arab stranger, Ali Said (Michael Gabriel Goodfriend) into unwittingly committing an unspeakable act. 

Ezra Barnes as Dov and Amy Griffin as Eileen Finney in “The English Bride”
at 59E59 Theaters. Photo by Bob Eberle

“The English Bride,” in a NYC premiere at 59E59 Theaters ( presented by the Centenary Stage Company, opens on October 30th and runs through November 17th, is based on the true story of the failed 1986 bombing of an El Al airplane. In Lucille Lichtblau’s re-imagining of the events, Eileen is interrogated by a Mossad agent named Dov (Ezra Barnes.)  “The English Bride,” is the winner of the 2011 Susan Glaspell Award.

The Play Company ( opens its 2013-14 season with a world premiere site-specific work by playwright Andy Bragen. In “This Is My Office,” playing from November 5th through December 8th, the space in which the blocked writer, Andy Bragen (played by David Barlow) takes on a symbolic role which brings harmony, reconciliation and redemption.

Let’s not forget to visit The Wild Project (, where there are a slew of activities, on stage and screen. From November 8th through the 23rd, see Victor Liesniewski’s “Cloven Tongues,”  featuring Casey Biggs, Catherine Curtin, Ema Laković and Alex Mickiewicz. In this drama about a brutalized woman and the social worker and priest who struggle to help her heal. Also at The Wild Project, “Hope is Expensive,” performed and written by  by Jill Pangallo, playing on December 10th and 11th, is more of a darkly humorous look at our delusional culture.

On December 9th, The Public Theater ( will present a Public Forum Solo with Nobel Prize-winning economist Joseph Stiglitz on income inequality and what the artistic community can do about it. “Rich and Poor” is the topic which will be addressed in the  conversation featuring artistts and activists following Stiglitz’s talk.

Paul Taylor Dance Company’s ( annual New York season will begin on March 12th and run through March 30th. During this year’s celebration of PTDC,American Dreamer,” Paul Taylor’s 139th dance piece, will be introduced on Wednesday, March 12th when the PTDC kicks off its Diamond season at the David H. Koch Theatre at Lincoln Center. 

The Diamond Gala Performance and Dinner is set for Thursday, March 13th. Gala tickets available at $850, $1,000, $2,500 and $5,000 ( Diamond anniversariees seem to have some fluidity in their timelines, in the case of the PTDC, it is a mere 60 years old. On Friday, March 14th, Paul Taylor will unveil the 140th work of his long and prolific career. 

Posted in a pill to end racism, advertising, comedy, comedy about a serious subject, crises of the soul, Greg Kellares, honky, marketing, profiling, racial profile, racism, serious comedy

The Incidental Racist: "Honky" at Urban Stages

Existential crises come in varied forms.

There may be medical cures for many of them.

Kid 1 and 2 ( Reynaldo Pinella and DeLance Minefee) approach Davis (Philip Callen) on a subway platform in a scene from “Honky” by Greg Kellares at Urban Stages. Photo by Ben Hider.

For Peter (Dave Droxler), being white is the major embarrassment. White guilt, straight-out racism, both white and black, all rear their ugly little heads in “Honky.” As each pops up, “Honky” blows it up and shoots it down.

Here is a comedy for the post-racial age. Until that comes to pass, “Honky” uses the tropes of advertising and marketing, in which profiling is professionally de rigueur. “Honky” explodes myths and slurs in a soft sell with a hard edge.

Emilia (Arie Bianca Thompson) counsels Peter (David Droxler) in a scene from “Honky” by Greg Kellares at Urban Stages through November 17th. Photo by Ben Hider.

Advertisers target their markets by demographics of lifestyle, income, race, something many of us prefer not to have our police do. In “Honky,” the product is the SkyMax basketball shoe, designed by Thomas (Anthony Gaskins.) The SkyMax in it’s various iterations aims to sell to “urban” youth, “code for black,” the company’s president, Davis (Philip Callen) freely admits.

Andie (Danielle Faitelson) meets Thomas (Anthony Gaskins) at a SkyMax party in a scene from “Honky” by Greg Kellares at Urban Stages through November 17th. Photo by Ben Hider.

While Peter goes to Emilia (Arie Bianca Thompson) for therapy to cure his guilt over an ad he created for the shoe, her brother Thomas beds Peter’s girlfriend, Andie (Danielle Faitelson) to cure his own guilt and rage. Davis goes to Dr. Driscoll (Scott Barrow) for a cure that will save his job.

Greg Kellares, the ex-ad man who wrote this intelligent and serious comedy, takes aim at some of our society’s most sensitive spots. Consumerism is another of his well-chosen targets in “Honky.” The cast, led by Anthony Gaskins’ conflicted hero, Thomas, and Peter Callen’s unapologetic Davis, as well as the superlative Arie Bianca Thompson, is all first rate. Luke Harlan’s gentle touch gives tribute to the subtle perspicacity of the script he’s directing.

“Honky” is an amazingly insightful look at race, marketing, advertising, stereotyping and Dostoyevsky.

The 80 seat theater will fill up fast, so please go to to learn more about “Honky.” 

Posted in courtroom drama, deep South, John Grisham, KKK, lurid, murder, race, racism, rape of a child, Rupert Holmes

"A Time To Kill" also offers a time to heal

John Grisham is a masterful story teller. His plots are full of intimate and expert details of the workings of courtroom proceedings.

Ashley Williams, Sebastian Arcelus and Tom Skerritt in Broadway’s A”A TimeTo Kill”. (c) Carol Rosegg

In “A Time To Kill,” based on Grisham’s classic best-selling novel written in 1989 and turned into a blockbuster movie in 1996, the plot is a scintillating mixture of  racism, rape, and murder.

Set in Ford County, Mississippi in the early 1980’s, “A Time To Kill”  revolves around Carl Lee Hailey (John Douglas Thompson), the father of a ten year old rape victim who kills the two men who raped his little girl. Carl Lee is black and Billy Ray Cobb (Lee Sellars) and Pete Willard (Dashiell Eaves) are white.

As  adapted by Rupert Holmes for the stage, “A Time To Kill” moves quickly from the men’s admission of the crime to Carl Lee’s dramatic courthouse killing.
Jake Brigance (Sebastian Arcelus) agrees to defend Carl Lee. His defense centers on the testimony of an unreliable psychiatrist, Dr. W.T. Bass (John Procaccino) brought in by Jake’s old disbarred mentor, the drunken Lucien Wilbanks (Tom Skerritt).

Jake reluctantly takes on help in the form of an ambitious liberal Boston law student, Ellen Roark (Ashley Williams in an auspicious Broadway debut) as a de facto law clerk.  Judge Omar Noose (Fred Dalton Thompson) predictably refuses them the change of venue they request, and the trial is on.

 Tijuana Ricks as court reporter Norma Gallo, Patrick Page as
District Attorney Rufus R. Buckley, Fred Dalton Thompson as Judge Omar Noose,
 and John Douglas Thompson as Carl Lee Hailey
in Broadway’s “A TimeTo Kill”. (c) Carol Rosegg

Their unctuous opponent, Rufus R. Buckley (Patrick Page), the district attorney for nearby Polk County, is prosecuting the case with aims for the Governor’s mansion.

The scenic designs by James Noone make use of a circular backdrop of slats that move us from courtroom to Jake’s office smoothly but dramatically. There are some wondrous special effects for which the Technical Supervisor, Peter Fulbright should be applauded.

In the large, well-directed (by Ethan McSweeny) cast, John Douglas Thompson’s Carl Lee is stalwartly portrayed. Also standing out are Patrick Page whose Buckley is opportunistic and slimy. Sebastian Arcelus is commendable and appealing as the young attorney, who is both of his place in time and beyond it.  We’ve already welcomed Ashley Williams for her charming turn as the tough and genius– “it runs in the family”– Ellen Roark.

It feels like a bit of wishful hindsight of racial harmony in Rupert Holmes’ vision of “A Time To Kill” undermining the premise of the story. It’s a very moving production, but this small point has to be asked: How does a black sheriff, Ozzie Walls (well played by Chike Johnson) get elected in a county teeming with KKK. A Grisham novel, while always a page-bruner, isn’t elegantly written; it runs on the plots and Grisham’s insights into the legal system. It’s wise to see the movie or, as in this case, the stage version.

Despite the grim facts of “A Time To Kill,” there is a lightness and ease in the drama. Rupert Holmes, no stranger to imaginative adaptations (“The Mystery of Edwin Drood,” recently at Roundabout, for an instance), has solidified and shortened Grisham’s plot to intensify its theatrical qualities. “A Time To Kill” is a solid Broadway hit.

For more about “A Time To Kill,” please visit

Posted in A Time To Kill, book to movie to drama, crime thriller, drama, John Grisham, Rupert Holmes

From the book to the screen, and onto the stage

Movies and theater are such different meda. Even though they often have much in common, they are two separate worlds.

Cast of “A Time To Kill” in a photo by Carol Rosegg.

One point of intersection is that both employ the skills of actors and directors. Another is that both in film and on the stage, those actors recite words written by scene writers, whether we call them script writers or playwrights.

Finally both at the cinema and in the theater, the audience is invited into a world envisioned for them by the actors and writers, directors, stage managers or cinematographers, costume and set designers. The story or plot can come from a book or the mind of the writer, from headlines (as expressed by the appetizing phrase “ripped from the headlines”), or from everyday life.

Movie-makers and theater-makers transport us outside of ourselves to worlds and places that we imagine together as their stories unfold. Therein lies the magic.

We’re looking forward to seeing how John Grisham’s book, “A Time To Kill,” lately embodied in a movie starring Matthew McConaughey, Sandra Bullock, Samuel L. Jackson, among others, translates to the stage.

Can’t wait to see “A Time To Kill,” adapted by Rupert Holmes, at The Golden Theater. For more on the production, visit

Posted in based on a true story or event, family drama, let right be done, Pyrrhic victory, Terence Rattigan

"The Winslow Boy" –Pyrrhic Victory Or Unleavened Triumph?

Photo by Joan Marcus. Terence Rattigan’s “The Winslow Boy” at Roundabout Theatre Company’s American Airlines Theatre, clsoing December 1st. Charlotte Parry as Kate Winslow with Zachary Booth as Dickie Winslow.

There are playwrights who have been forgotten and then there are those who have been neglected at our peril. Terence Rattigan was a popular writer before new voices of malcontent and unrest appeared on the scene. The oft-called “angry young men” were eager to break new theatrical ground and fight new universalist battles. Rattigan was a master of old-fashioned dramaturgy, whose subjects were often also universalist battles.

In “The Winslow Boy,” certainly, based on an actual case, Rattigan resonates with ideas of personal freedom and the right to vindicate ourselves against untrue allegations by those in positions of power. “The Winslow Boy” transcends the drawing room in which it is so gracefully set by Peter McKintosh to attack issues of due process and inalienable rights.

“The Winslow Boy” harkens to quaint ideas about parental approval and filial obligations. It takes place around 1912, before the “great war,” when women’s suffrage, Kate Winslow’s (the wonderful and winsome Charlotte Parry) raison d’etre, is considered a lost cause. Sir Robert Morton (a superbly cool Alessandro Nivola), the advocate Arthur Winslow (the marvelous Roger Rees) hires to defend his son, Ronnie (a lovely Broadway newcomer Spencer Davis Milford) against allegations of theft speaks to the difference of what is right and what is just. Sir Robert dedicates himself to the cause of “The Winslow Boy” in the interests of the former. That, too, may seem a bit quaint. 

Yet it is very much still a timely question of whether the powerful can attempt to impose their version of the truth with impunity if the rest of us do not abrogate our right to fight against it.

Arthur Winslow is a highly practical man. Yet he sacrifices his family’s security for the sake of what is right. If Ronnie– “The Winslow Boy”– has been falsely accused by the Admiralty, then his name should be cleared.”The Winslow Boy” himself stands at the center of the fuss as disinterested as he is innocent. He is, as his brother Dickie (Zachary Booth) puts it, and ordinary boy, who “sometimes doesn’t wash.” Ronnie is oblivious of the concerns of his family or the troubles  they are undertaking on his behalf. 
Charlotte Parry, Mary Elizabeth Mastrantonio and
Spencer Davis Milford. Photo by Joan Marcus.

The charm of the writing in “The Winslow Boy,” articulated by the actors with equal charm gives the “tempest in a teapot” story broader reach. “The Winslow Boy” is at once humanistic and realistic about its subject. It dares to question our reactions while pointing us to the broader picture.

Under the excellent direction of Lindsay Posner, there are some wonderful performances from the  large cast in this production: Michael Cumpsty is peerless as the hapless Desmond Curry; Mary Elizabeth Mastrantonio is superb as the patiently suffering wife and mother, Grace Winslow. Henny Russell is etouchingly amusing as the Winslows’ loyal, inept and untrained parlor maid, Violet. Chandler Williams gives a  fine portrayal as Kate’s exasperated fiance, John Watherstone; he also cuts a nifty military figure in his resplendent uniform (also courtesy of Mr. McKintosh’s design.) Rounding out the ensemble are Meredith Florenza in a small but meaty role as a reporter, Miss Barnes, interested only in the women’s point of view on the case; and Stephen Pilkington as her associate, the photographer Fred.

To find out more about this production of “The Winslow Boy,” which plays at the American Airlines Theatre through December 1, please visit Roundabout Theatre Company.

Posted in Diane Davis, Donald Marguiles, Florida retirement, holocaust survivors, Hubert Point-du Jour, Kathryn Grody, Mark Blum, Primary Stages

No escape in "The Model Apartment"


Escape by definiion involves running away.

In Donald Marguiles’ “The Model Apartment,” two Holocaust survivors are fleeing the very present horror in their lives by retiring to

Max (Mark Blum) and Lola (Kathryn Grody) move to their condo ahead of schedule. Since their apartment is not yet ready, they’re given the keys to “The Model Apartment.” 

There end all reasonable expectations of who and why.

In short order, Max and Lola’s daughter, Debby (Diane Davis) follows them from Brooklyn and terrorizes them.

Debby has absorbed all their Holocaust nightmares and memories in her idiot-savant brain.

Kathryn Gordy and Mark Blum in the Primary Stages production
of The Model Apartment © 2013 James Leynse.

Rounding out the cast is Hubert Point-du Jour, with a finessed portrayal of Debby’s dim-witted boyfriend.

Mark Blum’s Max stumbles through pain and denial while Kathryn Grody’s Lola suffers her anguish poignantly.  In a fine small ensemble, Diane Davis stands out as the cruelly mangled Debby.

 Diane Davis and Kathryn Grody in the Primary Stages
of The Model Apartment © 2013 James Leynse.

“The Model Apartment” turns out to be more of an “American Horror Story” than its frothy first act suggests. Lauren Halpern’s nicely detailed set exudes the false luxury that undermines Max and Lola’s journey as well. Under the guiding hand of director Evan Cabnet, the build and reveal in this fine new play are well-delivered.

For more information on “The Model Apartment,” please visit either or

Posted in dance, opera, Tennessee Williams, theatrical events

A Sampling of Off Broadway Theater

“The Mutiliated” extended through December 1.

Marie Antoinette. Photo by Pavel Antonov


Directed by Rebecca Taichman and Sarah Benson, Respectively, Shows are Among the Most Ambitious Soho Rep Has Ever Produced

Soho Rep,
with John Adrian Selzer, presents
Marie Antoinette (New York Premiere)
by David Adjmi
Directed by Rebecca Taichman

October 9 – extended to November 24
Opening: October 20
Performance Schedule: Tues—Sun at 7:30p, Saturday at 3p

In association with American Repertory Theater and Yale Repertory Theatre

Soho Rep,
In association with John Adrian Selzer, presents
An Octoroon (World Premiere)
by Branden Jacobs-Jenkins
Directed by Sarah Benson
April – May, 2014

Soho Rep. (46 Walker Street, Manhattan)
Tickets: Through Nov 3: $35 General / $50 Premium; Nov 5–17: $55 General / $75 Premium;
Nov 19—24: $55 General / $80 Premium; $20 Student Rush; $30 General Rush;
$0.99 Sunday, October 13, 27

“Bleeding Love”, free staged readings of “a post-apocalyptic new musical comedy”, book byJason Schafer, music by Arthur Lafrentz Bacon, lyrics by Harris Doran, directed by Michael Bush, presented by Amas Musical Theatre as part of the Amas Musical Theatre Lab Series, on Tuesday, October 15th at 3pm and 7pm and Wednesday, October 16th at 1:00pm, at The Theatre at the 14th Street Y, 344 East 14th Street.

Donna Trinkoff/Artistic Producer 
A Musical
 by Michael Aman and Dana P. Rowe
Musical Director
Doug Oberhamer
 Directed by 
Maria Torres
Friday, October 25 @ 6:00pm
Saturday, October 26 @ 3:00pm & 7:00pm
The Theatre at the 14th Street Y
344 East 14th Street, New York City
(between 1st and 2nd Avenues)
For Reservations email or call 212 563-2565
Visit for more information   
Photo by Daniel Phakos

Support the Walk.
Stay for the Dance!

In support of the Avon Walk for Breast Cancer, the Graham Ensemble and dancers from the Martha Graham School will premiere


a new dance work by Cynthia Anne Stanley, Founder of Bardos Ballet Theater,
Saturday, October 19, 2013

The Brooklyn War Memorial at Cadman Plaza Park 

11:15am – 2:00pm
The performance repeats every half hour

Performances are free to the public!

 Live Music by Owen Weaver
Costumes by Andrae Gonzalo
Dedicated to Brian Torrey Scott

Come celebrate, support and enjoy!

‘Souvenir’Adapts Marcel Proust’s Epic Novel Cycle Into An Hour-long Play
Abrons Arts Center Presents

Dead Centre, Souvenir (US Premiere)

Written & Performed by Bush Moukarzel

Directed by Ben Kidd

Performances: November 14–17, 20–23 at 8:00 p.m.

Abrons Arts Center Experimental Theater (466 Grand Street)

Photo by Scott Wynn

Legendary avant-garde performers Mink Stole and Penny Arcade are set to star in the first New York revival in 38 years of Tennessee Williams’s tender black comedy “The Mutilated.” Directed by Cosmin Chivu, the prodcution runs Nov 1-24 at the New Ohio Theater has extended to December 1.

This is the first production in 38 years of the play, which will now continue it’s run through December 1st in response to popular interest.

Penny Arcade, Male, Mink Stole in The Mutilated by Tennessee Williams, Photo by Cosmin Chivu

The Public Theater Extends the world premiere musical ‘Fun Home” to Sunday, November 17th.
Music by Jeanine Tesori, Book and Lyrics by Lisa Kron, Based on the Alison Bechdel Book
Directed by Sam Gold. Single tickets, starting at $81.50, can be purchased by calling (212) 967-7555,, or in person at the Taub Box Office at The Public Theater at Astor Place at 425 Lafayette Street. 
Photo by Joan Marcus