Smokefall @ The Lucille Lorte Theater

“Time past and time future allow but a little consciousness. To be conscious is not to be in time. But only in time can the moment in the rose-garden, the moment in the arbour where the rain beat, the moment in the draughty church at smokefall. Be remembered; involved with past and future. Only through time time is conquered.” This T.S. Eliot poem from The Four Quartets sets the scene and provides the title for MCC Theater’s Smokefall. What follows is an existential night of theatre moving through life and time while merging realism, fantasy, magic, and even a little bit of vaudeville. 

            At first glance, Smokefall shows a wooden house, a normal family home one has when growing up. The daily routine commences- pregnant mother Violet assembles breakfast, father Daniel gets ready for work, daughter Beauty and grandfather Colonel prepare for their days. What looks like the quintessential “normal” family is quickly struck away, as Footnote, played by Zachary Quinto (The Glass Menagerie, Angels in America American Horror Story, Heroes) narrates the inner workers of each character, including the two unborn twins. What seems happy on the outside harbors some deeper darker secrets.

            The morning unfolds throughout Act 1, as we learn how each family member’s life is about to change forever and the consequences it has on the others. Finally, Violet goes into labor, and we dive into the world of the twins, who exchange views on the world they are about to enter into, leading to hard questions and difficult decisions. Act 2 jumps into the future, as one of the twins has grown and has a son of his own. It is here that Eliot’s poem truly becomes realized, as time constantly shifts back and forth, showing the audience how the past and future coexist and everything comes together. Events from the past play out alongside the characters in the present, and they all interact with one another, showcasing how fragile and simply symbolic time really is.

            The entire cast was moving and provocative, many doubling as several different characters or in various stages of life. The women particularly stood out. Taylor Richardson’s (Annie) Beauty, at 14-years-old shows a tremendous amount of maturity in her performance, specifically in the second act. Robin Tuney (The Craft, The Mentalist, Prison Break) is captivating in her theatrical debut as Violet, as we see her shifting between a hopeful expectant mother, an optimistic young lover, and a woman who has been crushed. Zachary Quinto conquers the most roles, tripling as Footnote, Fetus Two, and Samuel- each distinct in their mannerisms and philosophers. Quinto was particularly enrapturing when he was simply watching the action developing in front or around him; he was constantly engaged and reactive.

            The show runs at 1 hour 40 minutes (including intermission) and the pace is perfect. You are constantly absorbed in what is happening, nothing ever felt slow or dragging. If you’re interested in a show that will warm your heart but also gasp as you’re on the edge of your seat- especially one that will make you think about time and life- check out Smokefall at the MCC Theater’s Lucille Lortel Theatre (231 W 29^th St.) before it blows away March 20^th. 

Review By: April Sigler

Photos By:Tina Fineberg 

Lost Girls @ The Lucille Lortel Theater

One of the greatest things about NYC is how culturally diverse it is at any given moment.  The tourists, the many who have migrated here and those who were born and raised here, give NYC a feel like no other that often makes us forget there is any other place in the world.  However, we are starkly reminded that a world exists outside our stomping grounds in director, Jo Bonney’s hit, Lost Girls.

While some of the details were further from reality (like some of the accents), almost everything else transports you instantly to Manchester, NH.  Richard Hoover does an excellent job with the turntable set, complete with such subtle authentic touches like the framed picture of Tom Brady on the wall.  The vernacular used, while some may find offensive, was truthful with raw honesty.  John Pollono’s writing is modern, conversational and effortless; it is as if you are a fly on the wall in this New England home.

Lost Girls tells the story of Maggie (Piper Perabo), the single mom who lives with her mother, Linda (Tasha Lawrence) who is struggling to make ends meet and Lou (Ebon Moss-Bachrach), her recovering alcoholic ex-husband, and their search for their missing daughter during a winter snowstorm.  Maggie awakes to go to work and finds that her car has been stolen.  She calls the police to report the car stolen and Lou, who is a police-officer, comes by to take down the police report.  He brings his all forgiving, very devout, almost annoyingly perfect new wife, Penny (Meghann Fahy).  This quartet proves to be a great source of laughs, as you witness the completely uncomfortable situation of the four of them trying to make the best of this incredible awkwardness.  Ms. Lawrence has some great crass moments, and when combined with Ms. Fahy’s holier than thou responses, you cannot stop snickering.  When the group realizes that Maggie and Lou’s daughter has actually taken the car, the tone becomes more serious.  As the group struggles to figure out the whereabouts of their (grand) daughter, we learn about Maggie and Lou’s rocky past and how they are dealing with the difficulties of co-parenting with a new step-mom in the picture.  

The story turns as you meet the young girl (Lizzy DeClement) (who you suspect is the daughter of Maggie and Lou) and boy (Josh Green) who have runaway from their homes.  The unnamed duo have run away in an attempt to get the girl down to Florida to meet her significantly older boyfriend (who turns out to be her mom’s ex).  They get into some trouble when the boy stands up to a local guy who tries to get too handsy with the girl at a local bar.  They hurriedly return to their hotel room where while they are hiding from this tough guy,  the boy professes his long time love for the girl.  The girl decides to be with the boy and they have sex.  They

These two storylines are intermingled together as the set literally revolves to show each story as it unfolds.  You learn about Lou’s troubled past, including rough nights on the job and how they translated to his personal life and contributed to his failed marriage.  The story unfolds so naturally, with the actors doing a spectacular job of being totally present in the moment, you forget they are just acting.  While some of the bigger names might bring you in the door, there was spectacular performances throughout the cast; most notably through Mr. Green’s and Ms. DeClement’s candid performances playing angsty, irrational teenagers who make lifelong decisions about love, even going so far as creating a blood oath.  Ms. Fahy and Ms. Lawrence are spectacular as polar opposites that really shine when they come together.  And Ms. Perabo and Mr. Moss-Bachrach play excellent parents who are dealing with the fact that they are still in love with one another after all this time.  This is definitely one not to miss, so catch it at the MCC Theater at The Lucille Lortel Theater now playing through Nov. 29!

Review By: Renee Demaio

Photos By: Joan Marcus

The Legend of Georgia McBride @ The Lucille Lortel Theatre

Mike Donahue and the MCC Theater have given New York a romp of a good time in their current production of The Legend of Georgia McBride.  Matthew Lopez’s script is hilarious in its brazen honesty.  It is a wonderful and positive story about finding your inner strength to follow your own destiny.  Mike Donahue’s direction helps us smoothly move through the story with carefree ease and laughter, setting up the heartfelt moments for greater impact.

The cast is simply dynamite.  Dave Thomas (Casey/Georgia) plays a perfectly humanized hero.  His innocence and charisma on stage are the perfect combination for the struggling Elvis turned drag queen. He is a joy to watch transform and you will fall in love with his every persona.  Thomas’ chemistry with Afton Williamson (Jo) is stellar.  Williamson is perfectly cast as the loving and nagging wife of Dave.  She is lovely with an air of Zoe Saldana about her.  Wayne Duvall (Eddie) plays the club owner (who is always looking to make a buck) with ease. We should want to hate him, but you just can’t help loving every moment he is on stage.  Keith Nobbs (Rexy/Jason) is hilarious as both characters - showcasing his deadpan humor as Jason and countering it with Rexy’s alcoholic, shade induced comebacks.  Last and certainly not least is Matt McGrath (Tracy).  McGrath plays to the audience akin to Charles Bush, laying out quips, puns and movie homages like it is Christmas.  The ease which McGrath lands each line and gesture is perfection.

The production team for The Legend of Georgia McBride stepped up to match the brilliance of the cast.  The lighting design, delivered by Ben Stanton, would do any rock band proud.  Donyale Werle’s set was so well designed, I spent the first ten minutes sitting in the theater before the show started wondering what the actual space looked like and what was the set.  This set is as detailed as Disney themes its attractions. The sound by Jill B C Du Boff was had just the right balance.  Top that off with a diverse and eccentric costume design from Anita Yavich complimented by makeup and wig design by Jason Hayes and you have yourself one of the best shows in New York City.

There are only a few shows that I would say you will be sorry you missed and this one is right up there at the top. It also features some of the best lip-syncing you will ever see.  Go.  It is fun with a soul.  More theater should be like this.

Review By: Paul Morin
Photo By: Sara Krulwich

The Money Shot @ The Lucille Lorte Theatre

A biting farcical brush is painted over Hollywood’s elite in Neil Labute’s newest play, The Money Shot. Karen(Elizabeth Reaser) and Steve(Fred Weller) are desperately trying to hold on to their careers and in doing so, put the relationships with their respective partners, Bev(Callie Thorne) and Missy(Gia Crovatin), and any remaining self-respect, at risk. Directed by Terry Kinney, the show both elicits non-stop laughter and thoughtful silence at all the right beats.

The cast shines onstage. It is not a least bit surprising that these actors portrayed their whinier, ego driven characters with an aplomb that can only mean they intimately know the characters they are playing. Elizabeth Reaser(The Twilight Saga) both manages to make fun of herself and “aging” actresses in general as the flighty, dramatic femme. At once calm and collected, at others on the floor in hysterics, she is diva incarnate with a flair that is hard pressed not to enjoy. Fred Weller(Mother and Sons) begins the show as a macho, self-possessed, blustering male, eager to explain away his age with his much younger wife, Missy, and ends the show a great deal more thoughtful than he started when his ignorance becomes too much for Bev, who takes him down several feet of pegs. Weller is fantastic. He drives the script along with the force of an oncoming train, but the points where he really shines are the almost muttered lines of stupidity that are the real catalyst for the tension onstage. Callie Thorne(“Necessary Roughness”; ...Judas Iscariot) was by far the most comfortable onstage. She was so interesting to watch, even when she was silent. Her character refuses to allow even the slightest misinformation slide with Weller while she battles with Reaser regarding their private life. Gia Crovatin(reasons to be pretty) provides much enjoyed humor as the flighty, yet oddly touching younger woman. Trying to be a good wife to misogynistic Weller, her character actually sees the most growth in the play. The least jaded of the group, Crovatin is by no means overshadowed by her more experienced scene partners, but instead delivers quips and cheerleading with the enthusiasm of fresh talent. To say that this cast was perfectly suited to play their counterparts would be an understatement.

As a southern California native, I was pleasantly surprised at the nuances in the play. The set design was beautifully done by Derek McLane, with sound design by Rob Milburn and Michael Bodeen, costumes by Sarah J. Holden, lighting design by David Weiner and stage managed by Christine Lemme.

The world premier of The Money Shot opened at Labute’s resident theatre in the West Village and has an extended run through October 19th. Get your tickets now for a wonderful night in theatre that will have you laughing till your sides hurt.


Review By: Aziza Seven
Photos By: Joan Marcus

Carrie @ The Lucille Lortel Theatre

The only thing worse than saying Mac_ _ _ _ in a theatre, is saying the word Carrie.  That is until now!  The updated version of the classic Broadway flop is back, and has a score to settle with all those who ever doubted her!  With some new revisions in the writing and score, the creative team of Michael Gore, Dean Pitchford, and Lawrence D. Cohen prove that a story about a girl with special powers who eventually blows up a whole town is a great idea for a musical.  Based off of the book by Stephen King, Carrie is back and out to kill the memories of so many years ago.

It begins as your classic high school tale - different girl in different clothes gets picked on.  Her name in this story is Carrie White.  Like all odd balls, Carrie has a family history that is less than normal; her mother Margaret believe fully in the word of the Bible.  Living in a holy house means that parts of the anatomy and changes in form are never discussed; therefore, when Carrie gets her first period in the locker room after gym class, it is the perfect time for Chris, Sue, and the rest of the class to attack a very frightened Carrie.  Miss Gardner runs to the aid of her student and makes sure that the other girls apologize for their actions; however, when Chris refuses, she is banned from prom.  This punishment sets a rage in Chris that is not to be messed with.  Soon Carrie will be humiliated and the whole town will be sorry.  Why one might ask - well, Carrie has just learned that she has telekinetic powers.

The mother-daughter relationship from hell is back and better than ever with two new star powers taking the spotlight.  Molly Ranson (Jerusalem) takes on the title character and not only blows away the school, but audience’s minds as well.  While Carrie White might be small, Ranson is larger than life.  Her ability to capture the essence and moods of this character is impeccable.  Carrie might get picked on and bullied at home and school, but on the inside she is a force to be reckoned with; Ranson brings this energy to the stage showing how truly human this special girl is.  The pain at home can be a bit much when your Bible loving mother is so brilliantly portrayed by Marin Mazzie (Next to Normal).  Approaching the role of Margaret White must be a daunting task - how can one keep a woman so crazed in reality?  Mazzie does it with ease and beauty, belting out some of the original scores most famous songs, including “And Eve Was Weak.”  Separate these two women are incredible, and together they literally make the stage burn to the ground.  The chemistry and passion behind the performances was so truthful and amazing to watch.  Around the White family is an ensemble that nicely pulls the story forward, and leaves time for a few others to shine.  Christy Altomare (Spring Awakening national tour) does a lovely job bringing the iconic character of Sue Snell, the lone survivor of the attack, back to the stage; along side with Derek Klena (off-Broadway debut) has her boyfriend, and soon to be prom date to Carrie, Tommy Ross.  Altomare and Klena worked really nicely together bringing this dark piece the light hearted air that it needs to stay connected to reality.  Also in the spotlight is Jeanna De Waal (American Idiot) as Chris Hargensen, the ‘it girl.’  While De Waal’s voice a bit too pop-like for the score, she did a great job keeping the teenage drama queen fresh and realistic, a role that is too often made cartoony.  The rest of the ensemble did wonderful work driving the piece forward, and bring this cult classic back into the New York scene.

While the book by Lawrence D. Cohen (TNT’s Nightmares & Dreamscapes) has been re-worked and the music and lyrics by writing team Michael Gore and Dean Pitchford (team behind the hit film Fame) has been re-mastered with new material, Carrie is still not perfect.  The dialogue and lyrics can still feel cheesy and forced at times; however, the design and direction of the show swoop in to save the day, and make Carrie a fresh, new, and exciting piece of theatre.  Led by director Stafford Arima (Altar Boyz), this recreation is dark, twisted, and a visual feast for the eyes.  Scenic designer David Zinn (Seminar) creates the perfect dreary high school - appearing to almost be ripped out of a black-and-white horror film.  This blank canvas allows the masters of lighting and projections to create a world unlike anything scene on stage before.  Kevin Adams (American Idiot) uses skillful lighting to create a world of color in a town that is all black-and-white.  Sven Ortel (Woman on the Verge…) brings the world of this piece into full realization using projections that appear to have been ripped right out of a black-and-white picture book from hell.  Together these artists join forces for the final scene of destruction that literally leaves the audience in shock!  This production team is exactly what this musical needed in order to be taken off of the ‘disaster list’ and onto the ‘must see list.’

There is nothing to fear when it comes to this ‘king’ sized revival of Carrie!  Keeping the piece completely camp free, MCC Theatre has made this piece feel vibrant, fresh, and, most importantly, human.  Deep down, Carrie is the tale of a girl who is different and the conditions that made her that way - a story that almost anyone can relate too - standing out because of that good Stephen King twist!  With a recent extension, Carrie is finally getting the run that it deserves - she is back, and this time means business!