Vanya and Sonia and Masha and Spike

Posted: June 25, 2013 | Author: | Filed under: Broadway, Comedy, Play | Tags: , , , , , , , , | 3 Comments

Okay, before I start this review, a bit of a disclaimer. As some of you may have noticed, my posts have been trending toward the positive. Do not fret! I do in fact dislike some shows – quite a few actually. I’ve been on this incredible winning streak of seeing some really great work. But you can still take me seriously, I promise; I’m very, very critical.

That being said: oh my god, this show is so good.

It’s funny; I had completely ignored this play’s existence when it was up at Lincoln Center. I feel like most of New York was ignoring it or rather, no one in my circles was talking about it. Then it hit Broadway and started being showered with awards. I knew I wanted to check it out before the Tony Awards so I did the youth rush a couple weeks back.

Set in Bucks County, the story focuses on half-siblings Vanya (David Hyde Pierce) and Sonia (Kristine Nielson), named by their parents after Chekhov characters. These two pretty much never leave the house. They stay put day in and day out, lonely and in a permanent state of tedium it seems, only slightly thrown off-kilter by their prophetic, outspoken maid, Cassandra (Shalita Grant). But everything is upended when their movie star sister, Masha (Sigourney Weaver), drops in for an unexpected visit with her new boytoy, Spike (Billy Magnussen). Hilarity ensues from the first moments, ranging from physical comedy and sight gags to endless amounts of witty dialogue: “If everyone took antidepressants, Chekhov would have had nothing to write about.”

The small cast of six (four of whom were Tony nominees) are all stand-outs. Every character gets the opportunity to shine. If you want to catch Sigourney Weaver before she leaves the show, her last performance is July 28th and then Julie White (one of my favorite actresses) will take over through the August 25th closing.

Surprisingly, this was Christopher Durang’s first Tony win for his work (the production won for Best Play this season). Known for his absurd comedy, there’s no letting us down here. Durang creates a world that is not quite reality but at the same time is all too real and relatable. Yes, there are Chekhov references. No, you do not need to know his plays to enjoy the show, although it is fun to get the inside jokes. I went with a friend who is not a “theatre-person,” and she loved it just as much as I did. My cheeks hurt from laughing so much. One second I was smiling à la Old Hats and the next moment I was crying. Kristine Nielson is just glorious.

Okay, that’s all I’m going to say. I honestly don’t want to mention anything else that happens. Again, although many of my reviews have been positive, there have only been a few that said Don’t-Miss-It. This is one of them.

Vanya and Sonia and Masha and Spike
Written by Christopher Durang, Directed by Nicholas Martin
John Golden Theatre
Photo Credit: Carol Rosegg
Pictured: David Hyde Pierce and Sigourney Weaver

Macbeth

Posted: June 19, 2013 | Author: | Filed under: Broadway, Play, Revival, Shakespeare | Tags: , , , , | Leave a comment

It’s hard to believe Alan Cumming wasn’t nominated for this performance. What a feat. The entire production, really, is quite the endeavor. I imagine most of you know Macbeth from reading it in school, or maybe you saw Patrick Stewart in it a few years ago, or you saw the dance film noir version still playing at the McKittrick Hotel (a blog post on Sleep No More to come in the future), but you’ve almost certainly never seen all the roles played by one guy in a room. So I say again, it’s hard to believe Alan was not recognized for this tour de force. True, not all of the show was successful; I was definitely in and out of it. But when I was in, I was in.

We began with a mental hospital of sorts; light green tiles cover the walls instead of the expected white. The only inhabitants are spare cots, a sterile sink, a few chairs, a metal staircase leading up to the keypad exit, and a bathtub. An observation window lurks high above on the back wall. The lights go out and we’re immediately hit with powerful sounds, static and something like Morse code. It’s like a bad connection on a submarine or when you’re stuck in between radio stations, and it creates a super creepy vibe, particularly juxtaposed with the opening actions on stage. The sound keeps the conversation muted as two attendants check in a new patient (Cumming). They scrape underneath his fingernails, swab his cheeks, give him a shot, and collect his clothing for evidence. The man is clearly affected, traumatized. He sits, stunned, fresh bloody scratches across his upper chest, clutching one particular bag of evidence which he refuses to have taken from him. All of this business takes several minutes. I loved that they took the time to set the mood. The attendants finish up, lay him down to sleep, and depart.

And then the Shakespeare text begins. This lost man is suddenly swept up in the story of Macbeth, and his conviction skyrockets as he jumps from character to character, starting with the three weird witches right up through Macbeth’s bloody end. The script has been cut down to focus on only the major roles (Macbeth, Lady Macbeth, Banquo, Macduff, Duncan, etc). We enter the secret corners of this man’s mind as he transforms his asylum into a feast, a castle, the woods, the king’s bedchamber, and so on.

The real joy is watching Cumming switch characters in the blink of an eye. You never doubt for a second which person he is portraying at that moment. There are physical cues and even props at times, but his physicality shifts so effortlessly that they can practically be deemed unnecessary. He can get a laugh before he even speaks. During an intimate scene between Macbeth and his wife, I actually felt like I should turn away and give them some privacy.

I would say if you have the chance, check it out before it closes July 14th. Not all of the piece is as engaging as one would hope; there is a lot of text to cover and the play runs approximately 1 hour 45 minutes. I admit I found myself bored at times, but when certain scenes click, it’s extremely captivating. Only a handful of clues are sprinkled throughout about who this man might be. The audience gets to walk away speculating, filling in the back-story for themselves. By the conclusion, we have acted as bystanders to a human being falling apart at the seams. No matter how many characters he may have shared with us, he remains one heartbroken man, trapped indefinitely in his own mind and with his own crimes.

Macbeth
Written by William Shakespeare, Directed by John Tiffany and Andrew Goldberg
Ethel Barrymore Theatre
Photo Credit: Jeremy Daniel
Pictured: Brendan Titley, Alan Cumming, and Jenny Sterlin

Sontag: Reborn

Posted: June 18, 2013 | Author: | Filed under: Off-Broadway, Play | Tags: , , | Leave a comment

I really wish this type of theatre was my style. I continue to go back hoping I’ll change my mind, but I just don’t connect in the way I want. This does not mean I don’t respect the form and the effort to put something unique on stage; quite the opposite in fact. I love the work produced at New York Theatre Workshop (NYTW), even when it doesn’t resonate with me. I can always count on the productions there to be daring and different from everything else going up in the city. Don’t recognize the name NYTW? You have fallen in love with shows that began there like ONCE, Peter and the Starcatcher, and a little piece called RENT.

This particular production is a one-woman show based on the writings of Susan Sontag, adapted and performed by Moe Angelos. When the play begins, all we are able to make out on stage is an outline of a projection. As it comes into focus, we see a worn, tired woman smoking cigarette after cigarette. She begins to share words with us written years before, and together we observe her younger self (played by Moe live). As we witness this brilliant young woman mature, we simultaneously watch the older Sontag judge and try to reshape her past. The relationship between her and her younger self drives the majority of the storytelling. A note from the program: “A fascinating aspect of [Sontag’s] journals revealed that Sontag would re-read her early journals, often annotating passages and leaving margin notes. Sontag’s act of revisiting her former self served as a springboard for this production in which older and younger versions of Susan intermingle, creating a portrait of this prismatic and elegant mind.”

The show is technically impressive as the projection design is seamlessly intertwined with Moe’s action onstage. The timing is key and must be exact in order for her to engage with a video of herself. If she trips up on her words, things can quickly unravel as she only has a certain amount of time to get her lines in before her pre-recorded self speaks.

Moe is wonderful and I tried to be invested in Susan’s journey, but I wish there had been more of an arc within the piece. There wasn’t a shift in the relationship to her older self. I left wanting more of a revelation.

Nonetheless, it is clear from the first few lines that Sontag had a way with words. If my diary sounded the least bit like hers did at age 15…I would have started blogging a lot earlier, let me tell you. It’s effective to hear her words and notes on different topics as she grows up, attends school, discovers her sexuality, and moves through her romantic struggles. I appreciate that an attempt was made to take this beautiful material and try it out on stage. If you are a Sontag fan, definitely see it. It just didn’t strike a chord with me. Perhaps it will with you.

Sontag: Reborn
Based on the books by Susan Sontag, Adapted by Moe Angelos, Directed by Marianne Weems
New York Theatre Workshop
Photo Credit: Sara Krulwich
Pictured: Moe Angelos

The Comedy of Errors

Posted: June 5, 2013 | Author: | Filed under: Comedy, Off-Broadway, Play, Shakespeare | Tags: , , | Leave a comment

Fortune smiled upon me last week when I won the virtual lotto to Shakespeare in the Park’s The Comedy of Errors. For those of you who haven’t heard of Shakespeare in the Park, every summer The Public Theater produces two shows (not necessarily Shakespeare) at the Delacorte Theatre in Central Park, and admission is free! The location is stunning with the view of the park beyond the stage and Delacorte Castle suspended above. I won the lottery because it was the first preview, not to mention the terrible weather forecast for the evening. Despite the imminent rain, I was ready to enjoy myself and ended up being able to do so under clear skies!

I listened to the hoppin’ sound of swing music as I entered the space (prepped with napkins to dry my chair). The pre-show had dancers performing some great choreography, and I was happy to see them return for all of the scene transitions. The Delacorte stage has once again been transformed, this time into a local market street. Three buildings (which rotate!) of bright pastel colors have a great flat effect, resembling the buildings you might see at Universal Studios. I loved them, and they were a cute, efficient way to keep up with the constant new settings in this town of identicals.

The Comedy of Errors is one of Shakespeare’s very early works; it’s his shortest play and in my opinion a little scattered. I like to think it’s foreshadowing for all of his later, stronger work. It’s like a first draft for Twelfth Night, or…what you will (that’s a lame joke for the Shakespeare nerds). Two sets of identical twins, separated at birth, find themselves traipsing around the same town. Antipholus and his servant Dromio arrive in Ephesus where their twin brothers live (also named Antipholus and Dromio of course). The new-in-town brothers start to cross paths with families, wives, and fellow villagers, and hilarity ensues as the endless accounts of mistaken identities pile up.

Which brings me to my main complaint about the play itself: it just consists of one running punch line – the same gag over and over. But luckily, we have Hamish Linklater (Antipholus) and Jesse Tyler Ferguson (Dromio) to take us on this ridiculous journey, so frankly, no one cares that the plot is full of the same silly stunts. These two, alongside the rest of this great cast, excel at keeping it fresh. I jump at the chance to see either of these actors perform live. I have had the opportunity to see both of them tear up the Delacorte with laughter in previous years – Hamish in Twelfth Night and Jesse in A Midsummer Night’s Dream. They are hilarious comedians and watching them work together and adjust to the mishaps and slip-ups of the first preview made it even funnier.

Now, I have only seen this production one other time, a couple summers ago, and in that version, two similar looking pairs of actors played the Antipholus and Dromio roles. This allows for the big finale scene typical of Shakespeare comedies: true identities are revealed, all the lovers are matched up, and everyone goes home happy. In this production, Hamish and Jesse play both twins within their respective pairs. As wonderful as it is to see more of Hamish and Jesse, I’m not sure if the final scene works as is. I think the audience is forgiving of the awkward staging, but I’m partial to the big reveal of the two sets of twins. It’s such a great pay-off! Maybe this version’s ending would have bothered me less if they had embraced the joke about the lack of another set of twins throughout the piece and not just played toward the inevitable problematic ending…but I digress.

Despite the tricky ending and repetitive plot, it’s always a hoot to watch actors have so much fun. Thank you clouds for sparing us and keeping the stage relatively dry for this incredibly game, talented cast. I’m sure the piece will only get tighter, sharper, and funnier.

The Comedy of Errors
Written by William Shakespeare, Directed by Daniel Sullivan
Delacorte Theater, Shakespeare in the Park 2013
Photo Credit: Joan Marcus
Pictured: Emily Bergl, Brian T. Lawton, Heidi Schreck, Jesse Tyler Ferguson, Rachel McMullin, and Hamish Linklater

The Nance

Posted: May 30, 2013 | Author: | Filed under: Broadway, Play | Tags: , | Leave a comment

You may not know what The Nance is; you may simply know it as “that play Nathan Lane is in.” Well, you’re right. This is quite the vehicle for a first-rate Nathan Lane performance, and I’m very glad I got to witness it up close and personal. As for the rest of the scoop, here are the basics you need to know.

The Nance is a new play by Douglas Carter Beane (known for The Little Dog Laughed and Xanadu) centered around Chauncey Miles (Lane), a burlesque performer. We find ourselves in Manhattan in 1937, and the law is starting to come down hard on burlesque shows and what is considered appropriate (and inappropriate) for the stage. In Chauncey’s vaudeville act, the double-entendres fly as he relishes in his primary character, “the Nance.” The nance is essentially a campy stereotype of a gay man, also referred to at the time as a pansy. Despite playing a very popular (and very funny) nance onstage, Chauncey is expected to hide his homosexuality everywhere else. On a stunning rotating set, we follow Chauncey and the people in his life, laughing with them every step of the way, even though we know deep down that darker times are quickly approaching.

A brief note on the Tony nominations. I am honestly shocked this wasn’t nominated for Best Play this season (it did receive five nominations total), and yet Beane’s book for Cinderella, which I’m sorry to say I couldn’t stand, did nab a nomination. The Nance as a whole is a little scattered in regard to the themes it wants to cover in a short amount of time, but the characters are strong and the story engrossing.

As for the performances, they were fantastic across the board. It goes without saying that Nathan is a powerhouse force to be reckoned with. He could win the Tony for this Mama Rose type of role. The supporting cast is also wonderful, particularly Jonny Orsini as Chauncey’s lover. As my friend put it, Orsini was “deceptively good.” In the beginning I was not enjoying his work, but later in Act I, I realized how excellent he really was and how enthralled I was with his character’s arc, watching him find himself over the course of the play. Lewis J. Stadlen, as Chauncey’s partner in the show within a show, added great comedy, and Cady Huffman (The Producers reunion!), Andréa Burns, and Jenni Barber were terrific as well. So yes! Overall, I very much enjoyed this production and recommend checking it out, especially to those of you who have not had the opportunity to see Nathan Lane perform live.

The Nance
Written by Douglas Carter Beane, Directed by Jack O’Brien
Lyceum Theatre
Photo Credit: LCT Poster Artwork
Pictured: Nathan Lane

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