I am here to entertain! the thespian says, and we sit transported in a darkened house while he performs for us.
Don’t disparage the chance to watch theater or hear music while enjoying a meal. It has the old time charm of the big band era. Thinking of dining while being entertained reminds me of ball gowns and tuxedos– in short it simply sounds elegant. Even the vulgar were properly attired in those days.
In our loosey goosey environs, the chances are that you are decked out in an elegant pair of shorts with a tucked in shirt. You order a burger, rather than prime rib, and beer rather than bubbly.
The show, too, may be less burlesque, drama, lounge act and cabaret than it might be one of those guess- who-dunnits from the murder mystery circuit. Don’t get me wrong, there is room for an amusing evening in which we wonder which of our neighbors stuck a knife in a sidekick’s back while we ate our fries! It just is not as highbrow or as uplifting as theater can sometimes be. The dramatics and dramatization may be broader than on Broadway, too.
As for the dress code for the audience, well, I haven’t worn a gown to a show in a long time, if ever. I look to the costume designer to dress the actors in an inspirational way. I can aspire to high-falutin’, ya know.
Comedy is not a continuum. It is a universe onto itself; that is each comedy is unique. Buster Keaton, for instance, created a character, a type, who functioned according to his own rules. Charlie Chaplin did much the same with his sad little tramp.
At home at the cineplex
I am not a movie-goer, per se, but a movie-stayer. Put it on my tv screen and I will gladly watch. Laurel Canyon, Urban Cowboy, a few minutes of Life, all get my attention. Hidden Figures, A League of Their Own, and The Help grab my heart.
However, it is comedies that keep me most engaged. In fact, what hubby and I love best is a smart and funny film. That’s not to exclude the stupid ones, which we consume in considerable quantities as well; you know movies like Animal House or even Dude, Where’s My Car? The low-brow, like Bad Moms, can be very high on wisdom. Comedy is an escape.
How far can escapism go with comedians like Woody Allen, or Noah Baumbach, or the Coens as your guide? Mel Brooks, a smart and funny movie-maker, can take you further down the silly than these other guys.
There are some parallels we can make between Woody Allen and the Coen Brothers, like the films A Serious Man and Irrational Man, which may have more in common in than just the similarily in title. There is a tone in both films that connects their styles and content, even if the plot lines are independent of each other.
Baumbach’s The Squid and the Whale tends to have more of a feel of dark whimsy, like a Wes Anderson production. It is not laugh-out-loud funny like Annie Hall or Broadway Danny Rose. It has none of the robust ridiculousness of High Anxiety, for instance, although it is definitely a tremblingly anxious work.
As always, and as our standard preface for these listings, there’s a lot to do and see. New York City theater can keep a body very busy.
Listings for October-November and maybe even December 2017
How time flies? Is it almost the end of this year? Could Halloween be just a week away?
Women’s Project gave this a go in 2016, and it is being reprised at the Westside Theatre.
The cast in Stuffed, playing through February 18th, has changed, except for creator and star, Lisa Lampanelli, and under the same director, Jackson Gray, but it is still a very relateable comedy. You or someone you know has been on and off the diet wagon for a long time. Everyone of us has a relationship to food– love it or loathe it. Can this lead to funny circumstances? With Lisa Lampanelli giving voice to the issues, you bet it can.
Meanwhile, currently at Women’s Project Theatre, What We’re Up Against, a new dark comedy by Theresa Rebeck, playing from October 28th to November 26th, is directed by Adrienne Campbell-Holt, and features Skylar Astin, Marg Helgenberger, Jim Parrack, Krysta Rodriguez, and Damian Young.
John Patrick Shanley writes wry comedies based in realism with surreal twists. Examples include Danny and the Deep Blue Sea, as well as Moonstruck, in which Cosmo’s moon overwhelmes the landscape and Cher’s Loretta tells Nicolas Cage’s Ronny Cammareri
that he’s a wolf who chewed off his own hand. His latest, The Portuguese Kid, at MTC at City Center Stage I through December 3rd, stars Jason Alexander as a lawyer beleaguered by family and clients.
Listings are only represent some of the presentations on NYC stages
American Ballet Theatre is in week two of its two week run through October 29th at the David H. Koch at Lincoln Center. Lots of premieres, including a Millipied World Premiere, as well as classics from Frederick Ashton and Jerome Robbins.
Matthew Bourne has a new ballet, his first in many years, which is spending five days on the City Center mainstage, from October 26th through November 5th. There’s a rotating cast for The Red Shoes, and a suggestion that children over the age of 8 would enjoy it.
Speaking of the kiddies, take them to Symphony Space on the weekend with Just Kidding, a series of programs dedicated to events for children. This weekend, there is a Halloween fun day planned for Saturday, October 28th at 11am with Joanie Leeds who will lead the musical costume party. Check out the full schedule at the Just Kidding website.
On Saturday, November 4th, the Symphony Space program offers a new way to teach your little ones new languages. Future Hits, a Chicago rock group, brings their irrestible mix of song with learning to the Just Kidding series. One show only at 11a.m.
Zoe Kazan, actress, playwright, has written a new dystopian play, After the Blast, which is at LCT3 in the Claire Tow Theater through November 19th.
Tired of the dystopian world view? Sarah DeLappe’s The Wolves, about a girls’ soccer squad, is coming to L.C.’s Newhouse Theater beginning November 1st. The team are highly competitive but there is no end-world scenario here. The Wolves had its well-received premiere with Playwrights Realm last year.
John Leguizamo gives us lessons in Latin History for Morons, another Broadway transfer from the Public, to Studio 54 through February 4, 2018. (You may recall that Hamilton went this route….) Leguizamo was inspired by the ignorance of Latino history in his son’s school to create this primer. More information on Latin History for Morons can be found at its official webpage.
This is not what might be described as a utopian moment in history. The arts, including theater, of course, have found the need to protest the political climate. Sometimes, their response has been by providing us with dystopian visions of a world gone awry. 1984, for example, is one such production. The recently closed revival of Fucking A by Suzan-Lori Parks is another.
Arden/Everywhere, at the Baruch Performing Arts Center from October 8th to 28th, based on Shakespeare’s comedy As You Like It, takes aim at the dangers that face a democracy. Jessica Baumann and her creative team see their work as a “reframing” of the original text. Their story purports to be about exile and banishment and does not want to center on the romance in this pastoral comedy.
In fact, the text for Arden/Everywhere is Shakespeare’s, embellished by references to immigrants and the plight of refugees. To that end, in its opening sequence, every greeting is a parting, and every hug and handshake bodes a separation.
The likeable cast present Shakespeare’s words with great authority and make the plot both clear and easy to follow. The principals, Rosalind (a very charming Helen Cespedes), Orlando (Anthony Cason, Jr.), Oliver (Kambi Gathesha) and Celia (Liba Vayneberg) are outstanding.
For more information and tickets, please visit Arden/Everywhere.
Family relationships are a tricky business, made more so when a family business is actually involved.
Ins Choi has written a tribute to his family and the business in which he grew up. Kim’s Convenience, in repertory at the Pershing Square Signature Theatre during Soulpepper on 42nd Street’s run through July 29th, won the Toronto Fringe Festival New Play Contest and is a series on CBC-TV, co-produced by Soulpepper.
A funny and poignant play, Kim’s Convenience is about a proudly stubborn patriarch, Appa (or Dad in Korean) (Paul Sun-Hyung Lee) and his family at a crossroads. Convenience stores are in fact intimate spaces, in which neighbors gather, and which tells the story of both the proprietor and his customers.
Rather than take the money offered him for the variety store by Mr. Lee (Ronnie Rowe, Jr., also in several other roles), Mr. Kim asks his daughter, Janet (Rosie Simon) to run the shop. The payout would mean he and his wife, Umma (mom) (Jean Yoon) could retire comfortably. Instead, Mr. Kim wants to pass on what he has built. He also knows that his legacy is in his children, Janet and his estranged son, Jung (Ins Choi.)
There is no mention of gentrification, yet it is palpably present in this scenario. In fact, change and cultural/generational differences and misunderstandings are a big part of the humor and the heart of Kim’s Convenience.
The set by Ken MacKenzie (who, also, designed the costumes) is fully stocked, all the details of a corner store compactly and intricately laid out.
Under Weyni Mengesha’s adroit direction, Kim’s Convenience holds our regard.
Note that their adaptation of Of Human Bondage has been particularly recommended to us.
Summer and theater are words often linked but less so in this big city than in summer stock country.
Theater, like some of your neighbors, heads to the Berkshires, or Saratoga, or another vaguely vacationy venue.
There are always remnants, of course, such as the hits that play the Great White Way regardless of season, and of course the Public Theater’s Shakespeare in the Park.
Starting in July, the New York Musical Festival gives voice to new works in off-Broadway houses. This year, thanks to some visitors from Toronto, the NYMF and Soulpepper on 42nd Street, appear in such close proximity that we can only suggest you tablehop a bit.
Take in as many of the NYMF premieres at Theatre Row and at Playwrights Horizons’ Peter Jay Sharp Theatre as you can. Head a little further west to sample the workshops, master classes, ensemble creations, and new plays that the Soulpepper Theatre is presenting at the Pershing Square Signature Theatre stages.
Among the other highlights of our NYC summer there is the Bolshoi Ballet dancing The Taming of The Shrew at Lincoln Center. Check out the full list of summertime offerings at the Lincoln Center Festival, another annual event.
Summer in the city can be ever so sweet!