Indian Ink @ The Laura Pels Theatre

Indian Ink, playing at the Laura Pels Theatre paints a fragrant view of a 1930’s love affair in India where the stakes were high and the temperatures more so. Playwright Tom Stoppard (The Real Inspector Hound) provides a beautiful structure for the characters to laugh and have joy amidst the tragedies that envelop their lives, not because of them, but in spite of them. The set design and lighting transcend us from the basement of the playhouse to an exotic land where the taste of forbidden fruit is to be both worshipped as well as cause for disgrace.

Rather than describe the reasons why you should go see this gorgeous and erotic production, let me elucidate the reasons why the reviewers who “didn’t get it” didn’t get it. They are emotionally stagnant; they’re accustomed to in-your-face, pornographic, over-the-top, let us tell you what you need to think and feel storylines…oh but they are excited about Rosemary Harris because their first year drama teacher told them to be; and most importantly, they’ve not experienced the juxtaposition of circumstances that life offers us if we are at all daring. Screw them. See the play. It’s smoldering as restraint confines desire and longing.

The costuming and props were simple and honest which was in stark contrast to the reality of the tellers of the tale who told more with what they didn’t say than what they did. I loved it! And obviously the audience of seasoned theater-goers did as well as they applauded at intermission- something I’ve not experienced but once or twice in many years of seeing shows.

Directed by Carey Perloff are Rosemary Harris (The Road to Mecca) as Eleanor Swan who is the beloved of her departed sister, Flora Crewe played by Romola Garai (I Capture the Castle). Though separated by two different worlds, they share verve and an acceptance of their life’s limitations whilst living more, within those limitations, than the entire rest do without. The best thing that the men in the performance do is provide a structure for these ladies just as a canvas gives a platform for a painting- without it, there can be no real art. Bravo men for having the fancy footwork directed by dance captain, Claire Brownell, be mirrored in the way you beautifully provide a frame to allow these women to dance and twirl.

Put up by the Roundabout Theatre Company, the show runs through November 30 and should be seen by lovers and romantics alike.

Review By: Michele Seven
Photos By: Joan Marcus

Can Can @ The Paper Mill Playhouse

An old Cole Porter classic finds it was over to Papermill this fall. Can-Can delivers thrilling combat, stunning talent and the highest kicks you have ever seen. Kate Baldwin leads this high flying cast in a production that would make Cole Porter proud. 

Set in the year 1893, Can-Can tells the tale of Paris dance hall owner, La Mome Pistache, and her battle with a self-rightious judge, Aristide, who is determined to shut her business down. The sexy Can-Can dance has become popular and Judge Aristide is determined to stop it. When Judge Aristide investigates the Bal du Paradis, La Mome Pastache seduces him and the two eventually fall in love. By the time her case comes to trial, Aristide has had a change of heart and works to win her acquittal.

Kate Baldwin leads the cast as Madame Pistache, the owner of the Paris dance hall.  Baldwin knocks this performance out of the park. She was sincere, strong and sexy, and has the vocal talent of a god. Jason Danieley played Aristide, the new judge in town the is trying to shut down Madame Pistache's night club. Daniely's performance started out rocky but as the show went on, he won the audience over with his smooth baritone vocals. Overall this cast was extremely well developed, each person had a equally memorable character, a truly strong performance by all.

The one person who truly deserves a bow every night would have to be Patti Colombo, choreographer. Colombo created an exciting display of organized chaos which left the audiences jaws on the floor.

Can-Can opened at Paper Mill Playhouse on October 5th, 2014 and plays through October 26th, 2014. Hurry up and get your tickets for this Broadway ready performance. 

Review By: James Russo
Photos By: Matthew Murphy

The Country House @ The Samuel J. Friedman Theatre

In the midst of tragedy and heartache, we can find ourselves focused inward in a way, which to the outside observer, seems ridiculously narcissistic, but in fact, is a survival mechanism- some things are just too painful to feel. Blythe Danner (Butterflies Are Free) as Anna Patterson, joins her family at the anniversary of her daughter’s death of cancer in The Country House by Donald Margulies. Ms. Danner elegantly walked that fine line of self-respect with vulnerability and self-centered, emotional detachment, demonstrating a sublime womanness.

Playing her funny and sassy, college-age grand-daughter, Susie, is Sarah Steele (Slowgirl). There was a fun and authentic play between the senior and junior actors. She will be a fun one to watch. Her deceased mother’s brother, Uncle Elliot, is played by Eric Lange (“Weeds”). He courageously dove right off the cliff and into the abyss of self-loathing, taking us with him and everyone else too, including his brother-in-law Walter Keegan, played by David Rasche (Lunch Hour), blockbuster movie maker who has “sold out” and ended up with the money and the girl. The girl just so happens to be the one Elliot has always wanted, Nell McNally. Katie Jennings Grant (The Lyons) had a difficult task. It cannot be easy to be “the replacement” to a woman who had been loved and adored by all but she utilizes grace and humility to do so with aplomb. And in the midst of this family chaos is the dashing Michael Astor played by Daniel Sunjata (Cyrano de Bergerac) who was loved by three generations of women in this family and envied by the men. You walk away knowing he and Walter will of course be the happiest in life as they are the ones who merely skim the surface and can always be found on top.

Daniel Sullivan (The Snow Geese) took us on a difficult journey, peppering it with laughter and joy. And isn’t that life anyway- an attempt to find meaning and joy amidst the confusion and disappointments? John Lee Beatty (Knock Knock) did scenic design; lighting was done by Peter Kaczorowski (Tales From Red Vienna); a fantastic costumer, Rita Ryack (Casa Valentina) and sound designer Obadiah Eaves (The Assembled Parties).The original music was done by Peter Golub (The Hieress). Fight director…yes there is a fight was Thomas Schall (This Is Our Youth) and the stage manager was Danny Maly (Casa Valentina).

Put on by Manhattan Theatre Club, one of the leading nonprofit producers of contemporary theatre, Opening Night was October 2nd at the Samuel J. Friedman Theatre and will be playing through November 23rd.

Review By: Michele Seven
Photos By: Joan Marcus

Riding the Midnight Express @ The Barrow Street Theatre

Through November 30th of this year, The Barrow Street Theater plays host to the storytelling of Billy Hayes as he recounts his early life in Riding the Midnight Express.  The presentation runs about 70 minutes with a 20 minute Q & A following.  

Starting from the time that he left college until just after his escape from a Turkish Prison, Hayes relates the experiences and discoveries he finds along the way.  Hayes talks about the decisions he makes that cause his incarceration, mainly his experience smuggling Hashish out of Istanbul.  He shows us the levels of inhumanity our souls can bare before beginning to corrupt.  Hayes relates the pain as he had to turn his head while others were beaten, lest he make his own enemies.  Talking about his friend who dies in Germany while trying to earn money to help him escape prison, Hayes is stricken with the guilt of this loss.  While trying to form a plan to escape, Hayes spends time in a prison for the insane with the hope that it will be easier to make his breakout.  Instead, he finds his own sanity begin to slip.  With less than 2 months until his freedom, Hayes stoically delivers the real story of his court sentencing of 30 years more in jail.  Not fraught with the anger portrayed in the film by the same title, he shows us a peace and forgiveness hard to imagine in our own everyday lives.  Finally making his way to the island of Imrali, he delivers himself out of his imprisonment in an epic trip across the sea and land all the way to Greece.

Hayes is a natural weaver of tales.  His life and journey are extraordinary, and he delivers them as such.  Hayes relates his story with almost a Socratic objectivity and insight, while still remaining emotionally true and vulnerable at times.  With no more tools than his voice, a stool and a bottle of water, Hayes keeps the audience interested to the end.  Though the aid of sound or lighting to better effect the audience would have made Hayes’s job easier, he prevailed through sheer personality.

A truly marvelous tale, Riding the Midnight Express is an enlightening evening for anyone who is willing to take a moment and use another’s trials to aid in their own self-discovery.

Review By: Paul Morin

Photos By: Carol Rosegg

Money Grubbin’ Whores @ The Lion Theater @ Theatre Row

Don’t let the title fool you, Money Grubbin’ Whores is surprisingly relatable for everyone!

First comes love, then comes marriage, then comes a messy divorce negotiated in the downstairs party room of a Northern New Jersey pizza joint. In this new dark comedy, NYC union plumber Matt and his gorgeous, Israeli wife Aviva are getting divorced. The back-room deal is mediated by Matt’s best friend Frankie, and Aviva’s cousin Moshe. As the couple battles it out through cultural differences, mixed messages, and high passions, one question remains…what is the price of love?

Sean J Quinn’s writing is smart, honest, funny, touching and a bit brash. Money Grubbin’ Whores opens with an overload of F-bombs and other profanities; so many that they are a bit distracting to the story line at first and hinder the laughter the script demands.  But after about 20 minutes, the characters begin to shift and the audience becomes desensitized to all of the obscenities, allowing the truth of the plot and personalities to shine.

Adam Mucci (Matt), Carmit Levité (Aviva), James Andrew O’Connor (Frankie), and Penny Bittone (Moshe) give outstanding performances. This is truly an ensemble piece. Each actor flavors it with their own individual spice yet stay consistently in perfect balance with each other. Mucci provides just the right amount of fire necessary to portray the passionate New Jersey Irishman. O’Connor delivers the quintessential Tri-state area Italian flawlessly. Bittone is a joy to watch as the smarmy Moshe and Levité breathes depth and sincerity into all of Aviva’s motions.

Under the direction of Brian Cichocki, this stellar cast wins over the audience. Though the scenery never changes, Cichocki’s pictures are always interesting and natural. Patrick Rizzotti’s detailed scenic design also aids in keeping the dull at bay. From the colorful party banners to the stacks of pizza boxes, everywhere you look there is something inviting you deeper into the North New Jersey Pizzza Joint.

If you have ever been through a divorce, a break-up, been in love or made mistakes, then you will connect with the heart of Money Grubbin’ Whores… see it before you can say you’re sorry!  

Review By: Staci Morin
Photos By: Zack DeZon