Fool for Love @ The Samuel J. Friedman Theatre

Most Broadway shows run about two and a half hours. This time lets people escape from their lives into a well plotted story. But then there are shows that don’t just let you escape-they pull you into a crazy world and shove you back out again in half that time and leave you blinking. With 75 minutes of beautifully orchestrated tension, Fool for Love does just that.

Fool for Love, written by Sam Shepard is a simple concept – two people in a hotel room talking to each other. But that simple concept becomes so much more when those two people are Eddie (Sam Rockwell) and May (Nina Arianda) locked in a mess of emotional, sexual, and romantic texture that simmers under every word. Watching the scene unfold is The Old Man (Gordon Joseph Weiss), who has a secret connection to Eddie and May and is removed from the action (mostly) by time and space, and Martin (Tom Pelphrey) who just wants to take May on a date and has no idea what mess he is walking into.

Both Nina Arianda and Sam Rockwell are forces to be reckoned with. They weave in and out of the frenzy of emotions onstage with amazing specificity and total control. Their interpretations of the characters are very complementary to each other. Rockwell has Eddie live mostly in stillness and slow movements, but with a violent streak that bursts out like dynamite in a flurry of movement. Nina’s May is the complete opposite – May is almost constantly a whirlwind of movement and emotion, which makes her moments of stopping unbelievably powerful. It almost goes without saying that the chemistry between these two characters and actors is off the charts – if there wasn’t, there would be no play.

Gordon Joseph Weiss is almost all stillness in his role as a narrator and storyteller of the past. It would be easy to just sit back and watch, but Weiss is always raptly paying attention to the story unfolding with great focus. Tom Pelphrey injects a delightful mix of awkward, funny tension to the stew onstage, with his slightly dorky confusion at just what is up with these two other people.

Fool for Love’s pot of tension and drama is wonderfully guided and controlled by the direction of Daniel Aukin. The play is supposed to be relentless – and it is – but Aukin still is able to find moments of pause that let the audience breathe for just a second, before diving right back in. The scenic design by Dane Laffrey, lighting by Justin Townsend and sound by Ryan Rummery all work seamlessly together to create a tense, almost claustrophobic environment. Costume design by Anita Yavich is simple and yet speaks volumes about every character.

Fool for Love is a fast paced, high tension roller coaster of emotions that is immensely captivating. Do not miss this amazing production produced by the Manhattan Theatre Club at the Samuel J. Friedman Theatre at 261 W. 47th Street.

Review By: Chrissy Cody
Photos By: Joan Marcus

Tales from Red Vienna @ New York City Center Stage 1

Travel back in time to Vienna to experience a wonderful story filled with comedy, hope and romance in the world premiere production of Tales From Red Vienna at New York City Center’s Stage 1 produced by Manhattan Theatre Club.

Tales From Red Vienna is written by David Grimm and tells the story of a young woman, Helena, who finds herself living a double life. After her husband’s death, Helena does what she must to keep herself functioning in society. However, how society views her as compared to how her friends view her are two entirely separate looks. However, when Bella Hoyos shows up, he has the chance to ruin everything and expose Helena for who she actually is.

Nina Arianda stars as Helena Altman and once again proves herself on the New York Stage. Arianda, best known for her Tony Award winning performance in Venus in Fur, captivates the audience from moment one and brings forth an instant connection we can all make. She is outstanding and she hits every emotional spectrum throughout the piece and brings to life the young girl trapped in a life she clearly never planned for. Michael Esper stars opposite as the lovable Bella Hoyos who you can’t help but fall for. While at first he may appear slimy in his ways, hang in there. Esper proves not only himself but the character in the end showing that there is more to people than we see at first.

Tina Benko stars as the hilarious Mutzi von Fessendorf who can’t seem to get enough of life despite having it all. She proves as a comedic force throughout the piece with her consistent over the top appearances.  Speaking of comedy, Kathleen Chalfant, who stars as Edda Schmidt, will have you laughing nonstop during her time on stage. From consistently drinking to her hilarious one-liners, Chalfant makes most of her time on stage bringing the audience to joyous moments repeatedly.  Lucas Hall makes the most of his minimal time on stage starring as Karl Hupka. During his short time on stage, his character brings to life someone the audience not only grows to dislike but doesn’t want to see as he looms over the production making statements and gestures we unfortunately know people deal with in real life relationships daily. Michael Goldsmith stars as the adorable Rudy Zuckermaier. Despite his short appearance as well, his moments on stage matter in the sense of relationships and a sense we have all felt before; hopelessness. He is an important stepping-stone in this show’s gradual rise to it’s ending.

The show is performed in three acts with two intermissions. You will be transported to Vienna in the 1920’s through the scenic design provided by John Lee Beatty and the costume design by Anita Yavich. Peter Kacorowski’s lighting design plays perfectly off the scenic and costume elements given to him and create beautiful pictures throughout much of the piece. Rob Milburn and Michael Boddeen provide a great sound design with fantastic music that appear consistently throughout the production.

 

One may never know if the Tales From Red Vienna are true or not. While a tale is defined as a story that is imaginatively recounted, I think the recounting here is in what is the most important things that matter in our every day lives. People matter. Connections matter. What we do and what we do not do matters. But most importantly, love matters.

Review By: Chris Luner

Photos By: Sara Krulwich

Venus In Fur @ The Lyceum Theatre

Sex.  Power.  Lust.  Passion.  Venus in Fur returns to Broadway for a second limited run for a very good reason - it is a damn good show!  Based on the erotic and controversial novel of the same name, playwright David Ives captures the very essence of a true battle of the sexes.  In a male dominated world, it is up to one woman to change the odds and take control.  Featuring an all star acting couple in Nina Arianda and Hugh Dancy, Venus in Fur is sexy, smart, sexy, funny, and sexy (was sexy mentioned already?).  Broadway has found its next great American drama in Venus in Fur!

Late one night, after sitting through tons of useless auditions, Thomas is ranting one the phone to his girlfriend.  Just as he announces that there is no hope of ever finding the lead for his new work, Venus in Fur, Vanda burst through the door full of a unique energy that Thomas finds himself starting to fall victim to.  After some convincing, Vanda has Thomas reading his own words and acting alongside her for this audition.  Complete with a bad of costumes and props, Vanda and Thomas begin to cross the line between text and reality; before long dialogue feels more natural and the world of his play starts to become the reality of the night.  With the girlfriend slipping farther and farther from Thomas’s mind, the erotic novel that was banned so many years ago starts to unfold before the audience - proving an audition that is so passionate and steamy, no one will soon forget about it!

A piece like this one is impossible to do without chemistry!  Nina Arianda and Hugh Dancy have chemistry!  The text is lifted off the page and given life by these two incredible actors that each give the performance of a life time.  Nina Arianda (Tony Award nominated for Born Yesterday) continues her charge toward stardom tackling the very complex character that is Vanda.  Full of determination, Vanda storms onto the stage, and from line one commands the attention of both Thomas and the audience.  Arianda is hilarious, truthful, and all around brilliant to watch on stage.  Her understanding of the world she is in is magnificent.  Back in May, Entertainment Hour had this to say about Arianda, “It is clear that this is just the beginning of an extremely successful career for Arianda” (Born Yesterday review).  This statement is true once more as Arianda proves yet again that she is the next big Broadway star.  Thomas may seem all kinds of confident, but by the end of the piece, his outlook on life has surely been altered.  Hugh Dancy (films Ella Enchanted and Confessions of a Shopaholic) tackles this role with charm and skill that are beyond measure.  His ability to transform into each character on stage, between Thomas and the roles that Thomas reads throughout the audition, is amazing to watch; his commitment to find the truth behind each character is something that cannot be ignored.  Separate, these two could tear apart any piece of theatre; however, together they destroy the stage, in a good way of course!  The chemistry and fire between these two is almost indescribable.  The physical and mental attraction is there from the moment both appear on stage together; the audience watches as it grows and grows with each passing moment - the first time they lock eyes, the first time they read together, the first time they touch.  Both bring sex appeal while delivering performances that one can only hope will be acknowledged come June at this year’s Tony Awards.

Brilliant acting was not the only triumph that this new piece has to offer.  Playwright David Ives (The School for Lies) crafts the ultimate story based around a book that caused trouble so many years ago.  Ives provides the ultimate look into the ways that men and women look at the world - who holds the power?  Moving the actors in a small room is not an easy task, but director Walter Bobbie (Tony Award winner for Chicago) does it with ease.  Along with fight director Thomas Schall (War Horse), Bobbie brings both the world of theatre and the erotic novel to life.  Creating pictures and moments that truly reach out to the audience and pull them in, Bobbie creates a world that feels so natural yet surreal at the same time - a vision that was seen through by designers John Lee Beatty (Other Desert Cities) on set and Peter Kaczorowski (Wit) on lights.  Beatty’s scenic design is absolutely remarkable.  Literally placing the duo in a floating box, he creates the idea that these two souls are trapped together no matter how rough things might get.  This box of an audition room is light magnificently by Kaczorowski who uses all kinds of mood lighting to set the perfect tone for this piece.  Bring the team together is costume designer Anita Yavich (Chinglish), who leaves little to the imagination when it comes to sexy Arianda and plenty to the imagination when it comes to hunky Dancy.  This balance only adds to Ives’s brilliant battle between man and woman.

Back on Broadway, Venus in Fur is a not to be missed, mega hit that is running at the Lyceum Theatre through June.  This hot and powerful piece of theatre will be one that you will not soon forget.  Love it or hate it, you will not be able to stop talking about it!  This will honestly be one of the best pieces of theatre you will ever get to see!  Do not miss Venus in Fur!

Born Yesterday @ Cort Theatre

Girl meets boy with money. Boy with money wants girl to get smart. Girl meets another boy with brains. Girl is now smarter that boy with money. Ladies and gentleman, you now the entire plot line to Garson Kanin’s Born Yesterday. However, do not take this brief synopsis in the wrong way, this starry new revival is fills the Cort Theatre with class and humor on a nightly basis. This new revival of Born Yesterday delivers big laughs and, even better, a bright new Broadway star – Nina Arianda, who tackles the role of “the girl” with style, ease, and masterfulness that is without a doubt worthy of every nomination (from the Outer Critics to the Tony’s) that she has received!

Set in Washington, D.C. in the year 1946, this comedy tells the story of Harry Brock, a millionaire land fill owner who has just rolled into town to settle some back handed business. He brings with him his sidekick, cousin Eddie Brock, and lady friend, Billie Dawn. Waiting to greet him into town is his lawyer, Ed Devery, and Senator Norval Hedges. It soon becomes clear that Billie, who is an ex-show girl, is not fit to really socialize around the elite government officials; therefore, Harry comes up with a scheme. Paul Verrall, a journalist set out to correct the politics of America, is hired to educate Billie so that she may not stand out like a sore thumb – which would draw attention to the fact that Harry is in town only to deal with Senator Hedges who he is bribing to pass bills. As fate would have it, Billie’s education quickly takes off, power in Harry’s business unknowing increases, and control over Harry begins to take root. This piece, set to prove the problems facing the government today, is a hilarious look at how no one is as “dumb” as they look.

Featuring some well known celebrities to play the leading men, the revival of Born Yesterday made the bold choice of casting new comer Nina Arianda (soon to be seen in the upcoming feature film Tower Heist) as the female lead – Billie Dawn. Arianda delivers a truly masterful performance that has already won her and Outer Critics Circle Award. In a role that goes from light at heart to serious, dumb to genius, and comedic to dramatic to comedic again, Arianda moves through the piece with such ease and grace leaving the entire audience in absolute awe of her. She lays it all out on the stage – holding nothing back and giving everything to her fellow performers. It is clear that this is just the beginning of an extremely successful career for Arianda. Playing the hot headed Harry is SNL and According to Jim’s own Jim Belushi. While starting out a little rough around the edges, Belushi quickly smoothes out his performance by the end of Act I to deliver a very funny performance. While the portrayal of this character is not too far off from the character Jim in According to Jim, Belushi knows the comedic style that works for him and surely what works well for this piece. Playing the wise tutor is Robert Sean Leonard, known for playing Dr. James Wilson on the hit television series House M.D. Lenard delivers what can only be described as a quite performance in this role. Most of his lines are passed by, emotions are overstepped, and jokes are lost. Thankfully, there is a very gifted ensemble behind him making up for all lost humor. Frank Wood (Broadway’s Side Man and Spring Awakening), Terry Beaver (Broadway’s The Last Night of Ballyhoo), and Michael McGrath (Broadway’s Memphis and Spamalot) as the lawyer, Senator, and cousin respectively, all mesh together in fabulously to bring the simple comedy of playwright Garson Kanin up to its full potential. Even Patricia Hodges (Broadway’s A Man for All Seasons), who plays the Senator’s wife, brings the ensemble together nicely delivering nonstop laughs throughout her extremely memorable Act I scene.

Led by director Doug Hughes, this production flowed beautifully. The fast tempo and colorful movement truly allowed the humor of the piece shine through. It also helped that Born Yesterday features a slew of top notch designers that allow 1946, Washington, D.C. to be fully realized. With a design by John Lee Beatty (currently represented on Broadway with Good People), the scenic elements were truly stunning. The rich blue walls, golden staircase, and crystal chandelier – along with glasses constantly filled with booze – transported the audience into a high class hotel room that only royalty could (and Harry) could possibly afford. Also, Catherine Zuber’s (currently represented on Broadway with How to Succeed...) glamorous costume design is Tony Award nominated, and rightfully so. With high class suits and elegant dresses, Zuber leaves the cast looking top notch. Topping off the whole thing is the work of composer David Van Tie (Broadway designs include Doubt and Arcadia) who created an upbeat and wonderful original score for this revival.

While the play itself is slightly dated, this production is fresh and original. With a beautiful design and stunning acting, Born Yesterday is a light a heart comedy sure to please people of all ages. And, if you go for no other reason than to see Nina Arianda, you will have made an extremely smart investment – she delivers a must see performance!

Review By: James Russo and Ryan Oliveti