Here are three shows playing “off-Broadway” but in the Times Square area you may find of interest: The Wolves at the Duke on 42nd, Yours Unfaithfully at the always brilliant Mint at Theatre Row’s Beckett Theatre, and Rancho Viejo at Playwrights Horizons.
Sports-themed stories are compelling because they are usually about fair play and, well, sportsmanship.
Sarah DeLappe’s The Wolves takes place during practice sessions of a suburban girls’ soccer team as they chat, gossip, and warm-up. Part of the appeal of this show is that The Wolves is in a reprise production at The Duke on 42nd Street through December 29th; its last sold-out run was this past August and September. It made an impact then, and it looks to make one this holiday season as well.
If you love something, set it free
The Mint is staging Yours Unfaithfully, the never before produced comedy by Miles Malleson. The play was published in 1933 but never staged until now, when it will get its world premiere beginning on December 27th and running through February 18th at Theatre Row’s Beckett.
Malleson, an actor, playwright, screenwriter, and freethinker seems to have written about the open marriage in Yours Unfaithfully from his life experience, but this production offers much more than voyeuristic interest. Bertrand Russell reviewed the published play as being full of “humor and kindness” and “free from any taint of propaganda.” The high standards of a Mint Theatre production should bring this “well-constructed” work to life.
At Playwrights Horizons, Dan LeFranc brings Rancho Viejo, a small-town and its relationships and interactions to the stage. If his earlier play, The Big Meal is any indication of where he’ll be taking us, this should be an interesting journey.
Rancho Viejo, through December 23rd at the Mainstage, explores how what we do affects our friends and neighbors, who may be total strangers to us. (Check out our review of this very entertaining new play.)
Over at the American Airlines Theatre, Stephen Karam tweaked Chekhov. The Cherry Orchard, which closed on December 4th, is a challenge, as is much of Chekhov. There is melancholy mixed with hilarity in the oeuvre and it does not always play as either funny or tragic. Diane Lane (Ranevskaya) and John Glover (Gaev). the plutocratic and impoverished owners of the property at the center of the play, achieve some level of mixed despair and hysteria.
The production had its faults, and some highlights which included the second act masquerade ball with musicians (Bryaqn Hernandez-Luch, Liam Burke, Chihiro Shibayam, coordinated by John Miller) on stage. There is original music by Nico Muhly.
And most interesting is the color-blind casting in which Chuck Cooper is Pischik, a landowner always looking for a handout, and Maurice Jones is Ranevskaya’s favorite Yasha. Harold Perrineau as Lopakhin, the son of a serf who wins the estate at auction, is a particular standout in the cast.
News from the annoyance front: Impolite theater-goers of the umpteenth degree spotted recently at a matinee of The Cherry Orchard were talking quite loudly. When asked to sush, the response was “Other people are talking.” The other people in question were the characters on stage, I swear.