Posted in #Roundabout, adaptation, adoption, Andrew Orkin, based on a play, based on Chekhov, Chekhov, Chekhov interpretations, classic, Classic Stage Company, Conor McPherson, drama, dysfunction, Emerging Directors, Ibsen, Ibsen adaptation, Jeff Blumenkranz, love, love story, melancholy, Norwegian playwright, play, Shariffa Ali, Shariffa Chilemo Ali, storytelling, Strindberg, Strindberg adaptation, Victoria Clark, Yael Farber

Modernist Classics

Tony-winner Victoria Clark (for Light In The Piazza) was in the short-lived Broadway run of Gigi

Like our friends Chekhov and Ibsen, August Strindberg invites reinvention, interpretation and re-interpretation. Strindberg’s brooding psychological themes have not had as much stage time as those of his contemporary.**

Ibsen, Chekhov and Strindberg are modern playwrights, in the sense that Freud is modern. Our sense of the inner workings of the soul and its desires have all been clarified in their work.

We are introduced to characters, conflicts and situation which have us wondering what if? We search for their outcomes and new resolutions for them. Hence the tendency for contemporary writers to rephrase and update Ibsen, or Anton Chekhov or, now especially, August Strindberg.

In the upcoming Classic Stage Company double-bill in repertory, Conor McPerson and Yaël Farber rework two Strindberg pieces, Dance of Death and Miss Julie. This Strindberg celebration runs from January 15th through March 10th at the CSC’s theatre on East 13th Street.

Farber’s Mies Julie resets the play to the Karoo of South Africa, adding a new dimension to the social conflicts in the original. Mies Julie is directed by Shariffa Ali who brings enlightened and empassioned humanitarian activism into the play’s broader themes.

Victoria Clark is helming the production of McPherson’s interpretation of Dance of Death. You surely know her as a Broadway musical star, who won a Tony for her lead in The Light In the Piazza, and was a nominee for four of her other outings. Lately, Ms. Clark has been directing musicals and operas around the country. She brings her sense of the lyricism in words to Strindberg’s brutal vision of a marriage in decline.

** (Strindberg’s Miss Julie, for instance, was last seen at the Roundabout in 2007 with Jonny Miller and Sienna Miller, although an off-Broadway production of his lesser-known The Pelican was produced in 2016.)

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Posted in drama, drama reflecting current events, family, issue play, Lindsey Ferrentino, new work, Playwrights Horizons, timely drama

Circumnavigation

This Flat EarthMarch 16, 2018 – April 29, 2018 Mainstage Theater Written by Lindsey Ferrentino Directed by Rebecca Taichman
Photo © Joan Marcus. Ian Saint-German as Zander, Ella Kennedy Davis as Julie & Lucas Papaelias as Dan in This Flat Earth by Lindsey Ferrentino, directed by Rebecca Taichman at Playwrights Horixons through April 29th.

1.CodePHnycDiscountLearning from our mistakes seems to be humanly impossible.

Lindsey Ferrentino’s well-wrought This Flat Earth, on the mainstage at Playwrights Horizons through April 29th, looks at the aftermath of one of our greatest failures. We repeatedly, almost routinely, fail to protect our children from gun violence.

In the wake of Parkland, FL, This Flat Earth seems a mild, even tame response.

It is very timely without being what is called these days “an issue play.” This Flat Earth addresses the issue in its very humane, personal and intimate way. It is unsentimental and unflinching, even as it brings tears welling.

This Flat EarthMarch 16, 2018 – April 29, 2018 Mainstage Theater Written by Lindsey Ferrentino Directed by Rebecca Taichman
Full Cast on the two-level set, designed by Dane Laffrey. Photo © Joan Marcus. Lynda Gravátt as Cloris above; Ella Kennedy Davis as Julie with Ian Saint-Germain as Zander. Lucas Papaelias as Dan with Cassie Beck as Lisa (in doorway.)

In lieu of a curtain rising, a cello is tuned by cellist Christine H. Kim, whose playing will punctuate the transitions in This Flat Earth. The Sound Design by Mikhail Fiksel under the
Music Director, Christian Frederickson is integral to the production.

The cello has significance for Julie (Ella Kennedy Davis). Her and her dad Dan’s (Lucas Papaelias) upstairs neighbor, Cloris (Lynda Gravátt) was a cellist. Her music keeps Julie up, or it used to, before. Now she is spooked by all the ordinary sounds outside her window. Noone seems to know how to help her, or her friend Zander (Ian Saint-Germain) deal with the shooting at their school. Julie, sheltered by her dad, is shocked to hear that this sort of thing has happened to other kids. Julie is tactless as only a 13 year old in distress can be in her encounter with one of the grieving mothers, Lisa (Cassie Beck).

Lynda Gravátt’s Cloris puts everything into a perspective that suggests that Julie and everyone around her will move on. It is a coda to a disquieting story.

The first-rate ensemble in This Flat Earth is beautifully choreographed by director Rebecca Taichman. Ella Kennedy Davis gives a remarkable starring performance; the youngsters, Kennedy Davis and Ian Saint-Germain, are impressively natural.  Kennedy Davis gets wonderful support from everyone on stage.

Posted in based on Chekhov, drama, theater

Once again, a young playwright rises to the Chekhov challenge

EsperanceThis was true in 2016, when I first posted it, and it proves once again that Chekhov provides a model for new plays and spurs a playwright to use The Cherry Orchard as a starting point for startling new work:

Anton Chekhov, it seems, provides excellent inspiration for contemporary Americans in his line of work. As if the Chekhov challenge asks the modern playwright to match him wit for wit and build on his premises.

Chekhov teases imitators, adaptors, translators and audiences with themes of grandeur and loss. His plays are shown on stages large and small each year; his works are mimicked in pastiches, like Stupid F**king Bird at the Pearl, or  Minor Character— in Brooklyn from June 17-25, 2016. In the latter, multiple versions of Uncle Vanya merge in a mist of millenial angst.”

Breitwisch Farm cast and creative team
Breitwisch Farm cast and creative team at rehearsal

This March, The Cherry Orchard is the influence for Breitwisch Farm, a play by Jeremy J. Kamps at the Esperance Theater Company at the new Tribeca venue, Town Stages. Breitwisch Farm explores issues of displacement and immigration in the era of America First, giving Chekhov’s story a distinctly of the moment twist. The play runs from March 2nd through March 16th.

Breitwisch Farm author Jeremy J. Kamps is part of the Public’s Emerging Writers Group.  The play stars Danaya Esperanza, Joe Tapper, Katie Hartke, Will Manning, Charlie Murphy, Maria Peyramaure, Alejandro Rodriguez, and Katie Wieland, under Ryan Quinn‘s direction.

Posted in comedy, Daily Prompt, drama, musical theater, theater, theater lovers

Comedy tonight!

cropped-theater
from cafepress.com

via Daily Prompt: Entertain

Theater is here to educate, illuminate, expose, engage and entertain. Sometimes it offers all five of these verbal commands, sometimes just the latter, which is the one commandment it must follow.

I am here to entertain! the thespian says, and we sit transported in a darkened house while he performs for us.

Posted in #critique, #dystopia, #pointofview, #whatdoyouthink, ambition, Beau Willimon, Blair Brown, blog at wordpress.com, Derek McLane, drama, fictionalization_of_real_events, history, Hudson Theatre, intrigue, Jane Greenwood, Josh Lucas, Marton Csokas, one act play, Pam MacKinnon, Phillipa Soo

Matters political

5389Politics matters, of course, since it definitely affects our daily lives–especially as recent current events have revealed. You may understand when I say that I have felt undone by politics these past couple of years.

5387

 

And yet, here I go, voluntarily, to see The Parisian Woman, a tale of the DC Beltway playing at the Hudson Theatre through March 11th.

5189Initially, there were two things driving me to see this drama by Beau Willimon, the president of the Writers Guild of America East. The Parisian Woman stars Uma Thurman in her Broadway debut. Additionally, it is just the third production at the newly refurbished Hudson, following 1984 and Sundays in The Park with George. (By the by, both of these had star turns, the former Olivia Wilde and the latter starring Jake Gyllenhaal.)

So, what did the production, directed by Pam McKinnon, and also featuring Josh Lucas, Blair Brown, Phillipa Soo and Marton Csokas say to my hyper-poiliticized self about the atmosphere of power and influence in 2016?

5393Intrigues, gossip, clandestine activities, affairs, rumors all churn up Washington’s social life in The Parisian Woman. Chloe (Thurman) is looking for powerful friends to help her husband Tom (Josh Lucas) further his ambitions. She has none of her own, it seems, so she lives through those she loves. Peter (Marton Csokas) is her lover but not among the people for whom she really cares.

Thurman and Csokas give overly theatrical performances, though in their defense I will say that the material is a hard sell. The script is rough; I think of it as Noel Coward on Red Bull®. Lucas’s Tom is charming if excessively idealized. Blair Brown as one of Chloe’s power circle, Jeanette, is natural and straightforward; her acting like her character has a certain spunk. Phillipa Soo as Jeanette’s daughter Rebecca holds the stage with an easy poise.

Rebecca also gets to wear the one most singularly impressive and stunning gown (costumes designed by Jane Greenwood.) Chloe’s many outfits are attractive in the understated way of a very expensive wardrobe. The men are chic in suits except in one scene where Tom bears his six-pack, (We can assume that the latter is not courtesy of Ms. Greenwood, although her work in the show is very appealing.) The elegant sets (by Derek McLane) move in a clever fashion and feature a kind of newsfeed which is monochromatic Mondrienesque.

Polemics–even when the politics echo my own– are not inherently dramatic
Willimon’s text is stiff with an elegance manqué. Actually, both ends of the register get short shrift– The Parisian Woman is neither vulgar nor haute. The play aims so hard to be insiderish that it fails to qualify as #resist(ance). This blend of fiction with fact in Willimon’s play, could be called a “faction” drama. Many in the audience at the performance I attended seem to have come there as fans of Beau Willimon’s streaming series, House of Cards, another foray into the inner workings of the life political.

I am not saying that we should not take the excursion, just that Willimon’s The Parisian Woman is not an entirely convincing trip down this path.

For tickets and information, please visit The Parisian Woman website, or the Hudson Theatre box office at 141 West 44th Street.

Take a look at my SidewalkSuperBlog to see what I found of interest inside the new old Hudson Theatre.

Posted in #dystopia, drama, Playwrights Horizons, Robert O'Hara

Hopeful

cropped-theater
from cafepress.com

We often expect uplift from our theater experiences. Playwrights are not always willing to give us exactly what we want. In these dystopian times, they are responding with different messages for us to digest.

Scott Organ’s new play, The Thing With Feathers, at the Barrow Group beginning January 13th (and running through February 10th), offers up a famous quote about hope for the title of his mystery play. Expect the story to unravel in unexpected ways when an underage teen is seduced by an older man on the internet.

The unexpected happens in Mankind, a new play by Robert O’Hara (who also directs) at Playwrights Horizons from December 15th through January 18th. The world of this drama has mistreated women so badly that they no longer exist. The play stars two time Tony nominee André De Shields, along with Anson Mount, Bobby Moreno, Stephen Schnetzer, Ariel Shafir and David Ryan Smith. Playwrights Horizons commissioned O’Hara, who has won two Obie Awards–one for Bootycandy which also played at PH– and also directs his play, to create this provocative drama for the 2017-18 season.

You could say that the genesis of Rodgers and Hammerstein’s Carousel is a story about a young woman devoted to an explosive and abusive man. Michael Weller was inspired by the same Ferenc Molnár story to create Jericho, performed by The Attic Theater Company at Wild Project, from January 18th to February 10th. Weller’s version of Lilliom is set in Coney Island during the despair and hopelessness of the depression.

It often feels as if the ’60s were a more hope-filled era, this despite the assassinations that changed the landscape of hope. Malcolm X, a radical and polarizing figure, was one of the many strugglers we lost in those days. His activism is remembered in The Acting Company’s X: Or, Betty Shabazz v. The Nation, which returns after a staging in 2017, to a full off-Broadway run from January 14th to February 18th to the Theatre at St. Clement’s. Marcus Gardley’s play, starring Obie-winner Roslyn Ruff, will be performed to coincide with Black History Month.

 

Posted in drama, historical musical drama, moving musical drama, Musical drama, musical theater, musical theatre, political drama, theater

Hot tickets

1Justtheticket

It’s hard to pinpoint just what makes a “hot ticket;” it could be a star turn, or 11 Tonys or just the quirky charm of the story. Whatever it is,  you might want to share it with friends or family this holiday season.

HD_KeyIn mid-January when the Divine Miss M cedes the role of Dolly Gallagher Levi to the sterling Miss Bernadette Peters, tickets for this Broadway revival might become a tad more accessible. This in no way disparages Bernadette Peters’ enormous talent and wattage. Bette Midler just has a star shine all her own. A je ne sais quoi, let’s say, that sends tickets to see her in Hello, Dolly!! into the stratosphere. (Regular price tickets ranging from $189 may still be found at Telecharge, so check on availability, but there are premium seats for nearly $1000 and “secondary market” tickets for a lot more.)

 

Hamilton0044rR Daveed Diggs, Okieriete Onaodowan, Anthony Ramos, and Lin-Manuel Miranda in Hamilton
Daveed Diggs, Okieriete Onaodowan, Anthony Ramos, and Lin-Manuel Miranda in Hamilton Photo © Joan Marcus

Hamilton, Lin-Manuel Miranda’s American history lesson enthralls. It’s still at the Richard Rodgers on West 46th Street, and it’s on tour across the country. It may be its impressive Tony showing that is part of the draw. Lottery tickets go for just $10 per, but, like any lottery, it’s a gamble. Speaking of gambles, the Hamilton website warns against buying from resellers to avoid receiving fraudulent tickets, so use the regular channels for purchasing this sizzling ticket. In fact these tickets are so blistering hot that it might be next December before the family enjoys the show.

Another and different kind of civics lesson can be found at The Band’s Visit. This musical was created from the Cannes prize-winning Israeli film; you can watch the movie on Showtime cable on Wednesday 12/13 and Tuesday 12/19 at 7:30pm, by the way.

This modest musical is enjoying a very successful and prestigious Broadway transfer from its 2016 run at the Atlantic Theatre. (Tickets are hot enough that the producers are not offering any discounts, by the way. We have not checked in at the day of TDF kiosk.) The Band’s Visit has heart and warmth, and a promise of the possibility of peace in the middle east.

Reflecting on another facet of history, Junk at the L.C. Beaumont Theater, offers much less hopefulness than The Band’s Visit. The heat factor in Junk comes from its ripped off the front page view of the financial crisis of the 1980s. This is just the ticket if you want to reflect on America’s obsession with money. I found it worrisone when someone in the audience wanted to clarify who had “ratted” on the main character. Ayad Akhtar takes us back to the “greed is great” days in which malfeasance is the benchmark. His lead character “creates wealth” by creating debt. The “Junk” of his title refers, of course, to junk bonds, a vehicle by which you, the consumer, lend a corporation more money than its worth. Wall Street types will be drawn to the humor and pace of this drama. The rest of us will appreciate the concise lesson it offers in high finance and unbridled ambition. At its core, Junk, staged as a Greek tragedy, is just that, showcasing characters filled with hubris and arrogant conceit.

Visit a Broadway show over the holidays, if you can, with your nearest and dearest.