TWELFTH NIGHT @ THE DELACORTE THEATRE (PUBLIC WORKS)

There is nothing I love more in this world than a good update on a classic. Now, as of late I have found myself trapped in many a discussion on the validity of a modern interpretation. But as I was taught and as I have known, I always come prepared to an argument with an arsenal of facts, site source material and the good ol’ gizmo (bam!)

Here’s a perfect example of a modern update of a Shakespearean classic that happened this past weekend right in the heart of our city, Central Park. The Public Theatre’s Public Works Program put up a SMASHING production of Twelfth Night at the Delacorte and let me tell you, not one toe was left untapped, not one soul left unenraptured by the brilliant coming togethers of the average Joe and Tony Award winning stars.

We know the story (or we’ve seen She’s the Man…) but here, Kwame Kwei-Armah and Shaina Taub do something so special with the text; a modern/classic fusion so flavorful, rich and comforting, all the while keeping its roots which perfectly mirrors their Illyria, New Orleans.

And I get it. Some updates are super forced and out of left field (There’s a production of Antony and Cleopatra back in Chichester that haunts me to this very day) but to declare “If music be the food of love, play on” and not think of New Orleans in all its music, art and sex appeal, there’s simply no hope in ever changing your minds. Frillies and plumes to you all!

Nikki M. James shines as Viola, mastering the language with coolness and ease. Jose Llana is a perfect Orsino, oozing incredulous amounts of love and angst, all in a man-bun, no less! Nanya-Akuki Goodrich’s Olivia was so spirited and jovial, a refreshing change to a character we know to wail on.

Audiences fell in love with Sir Toby Belch, Mr. Jacob Ming-Trent, a Public Theatre (and Entertainment Hour!) favorite as well as Andrew Kober’s side splitting Malvolio.  Every single audience member in that sold out house was with these captivating performers one hundred percent, laughing at every nuance, radio silent at every touching moment.

 

One of the community groups that took part in this production was the New York Deaf Theatre. They served the role as the unspoken words inside Viola’s head when she wants to tell Orsino that she’s a woman and she loves him.  Feste, played by Ms. Taub herself , sings “Is this not Love?” while the group dances and signs around Viola and Orsino. Certainly an absolutely gorgeous inclusion that I will never be able to forget.

I urge you all to support the Bard in all its forms and veneers wherever it pops up! Because God knows I won’t shut up about it.

Review: Brittany Goodwin

Photos: Sarah Krulwich

Benny & Griff's Wonderful Universe: The Musical Experience @ The Duplex

The best thing about theatre is the various shapes and sizes you find it in. Blocks and blocks down from box stepping leggy blondes on Broadway are these beautiful blips of theatrical time that we catch and treasure for a long while.

That’s where we meet Benny and Griff. 

Benny & Griff’s Wonderful Universe: The Musical Experience is like a f^cked up art song by operatic puppets and troubadours, a celebration and an outcry of the millennial generation. Jam-packed with color, satanic chants, and the occasional interjection, (a la 90s Saturday cartoon mornings) this CLEARLY translates to an awesome time, no?

We walk in to a set that looks like a mildly sinister bible school basement? A storage house for Yo Gabba Gabba rejected scenery? But whatever, because it perfectly reflects what we are in for for the evening. Dave Columbo, our energized emcee, charges the stage stating that “we are living in weird times right now, and we need something like this show.” And it’s totally true.

Benny and Griff are our musical storytellers for the evening, performing catchy, campfire-y, inane tunes about being friends with animals and not going to school, all the while in pursuit of finding the queen so they can sing her a kick ass song for her birthday.

Rounding out the ensemble are these hysterical entities that take on bizarre personalities along the way. Notable moments were the beautiful and hilarious Stephanie Windland becoming the Gallump, a dilapidated puppet who lost his family and hates a hand up his ass. Nolan Hennelly became the River Beast, an afeared beast made from two green pizza boxes and some PVC pipe, which he tackled with humanity and grace.

The duo certainly have a following, as everyone bursting at the seams of the Duplex’s basement were swaying and singing along to their infectious tunes.  We all take a friendship pledge at the end of the show, so I know I’ll see a lot of familiar faces next go around.

Their next event, 2 Birds, 1 Stoned is June 1^st @ 8 over at the Parkside Lounge (317 E Houston St). Special pieces like these don’t come along all the time, so go over, make the pledge, and have a killer time! Follow the guys on fb/insta/whatever : BennyandGriff / bennyandgriff.com

Review By: Brittany Goodwin

Daphne's Dive @ Romulus Linney Courtyard Theatre @ The Pershing Square Signature Center

You gotta love a show where you feel a part of the atmosphere, invited into the culture, all the while moved with the rhythm of the story, as if you lived it and it were your own. That, my friends, is the feeling you feel watching Daphne’s Dive over at the Signature Theatre.

We meet Ruby (an astounding Samira Wiley) at 11 years old and grow with her and the rest of the dive bar ensemble over the course of 18 years. Daphne (Vanessa Aspillaga) runs the bar and adopts Ruby after bar regular Pablo (Matt Saldivar) finds her in the dumpster while he was in pursuit of trash for his art. Ruby grows very fond of another bar regular Jenn, (KK Moggie) a fanciful social activist who rents from Daphne’s politician brother-in-law Acosta (Carlos Gomez) and sister (Daphne Rubin-Vega).  Midway through the story, Pablo has an art exhibition of his trash and we find out that Jenn has taken her own life during one of her protests. Ruby is destroyed by this, and we watch her and the ensemble’s response to loss, grief and the healing process.

Director Tommy Kail and Playwright Quiara Alegria Hudes work hand in hand again, after their success with In The Heights.  Kail perfectly masters the pacing of the vignettes, keeping us on our toes as to what will happen next to this poor community.

You undoubtedly come to see this play for Samira Wiley’s contributions to the piece. She is the heart, soul and liver of the bar and you simply cannot take your eyes off her. We feel a part of her characters development as we watch the world harden her as a child, as a teenager, and as an adult in all different capacities of the heart. Her performance is simply unmatched and gives the play a unique foreground to build itself upon.

Go on and have a drink at Daphne’s Dive and bring a friend- you’ll have a lot to discuss and a lot to reminisce about- just don’t forget to tip your bartender.

Review By: Brittany Goodwin 

Photos By: Joan Marcus

Indecent @ The Vineyard Theater

It’s a rarity that when one sees a play, one is touched on every level and every sensory organ satiated. But when you are talking about religion, forbidden sex and theatre history- what else does one need?

Indecent by Paul Vogel and Rebecca Taichman over at the Vineyard Theatre is nothing short of absolute brilliance. The audience communally sat in awe- laughing quickly at every nuance and sharing heartbreak as it came, which culminated to us leaping to our feet at the final blackout.

Indecent is based on a true story : the development of Yiddish playwright Sholem Asch’s God of Vengeance in early 1900s Poland. We see the play’s origins (first table read, assembly of cast, its performances around Europe) and how it takes flight all the way to NYC where the actors are arrested for the controversial content in its edits. They had no playwright to defend them because he hid away in shame that he could not learn English to defend his play. Lemmi, the stage manager and the hero of the story, takes the acting troupe back home and unfortunately back to a Nazi ridden land. They try to keep the play alive in attics and act for food, but are taken during act 2, the controversial love scene between the two girls. The ending could rip your heart out when we see what happens to each of these characters. But you’ll have to see it for yourself, as its painful to write on.

The cast is exceptional. Richard Topol acts as the narrator of his story, weaving us seamlessly through moment to moment of the story, all the while knowing his recollection of that “blink in time.” Adina Verson plays a few different carnations of the female lead flawlessly, simply accenting them with a scarf or sweater, but drastically stepping into different personas. Katrina Lenk, Verson’s lover, was stunning and captivating in every single move she made.

The director by co-creator Rebecca Taichman perfectly embodied the piece’s humor, history and vaudevillian homage to the times. Christopher Akerlind’s lighting design was particularly amazing; creating shadows and intimacy all the while maintaining the aesthetic of old playhouses. Super smart indeed. Lisa Gutkin and Aaron Halva’s music moved the story along, as the actors danced and moved the set pieces.

A play with this much heart and history needs an audience and begs to be heard. We say time and time again “history repeats itself,” and we do all we can to prevent it. This play not only shows an inside look of the Holocaust and the Jewish people, but prolonged censorship in the theatre.  We are so fortunate to see all we see without anyone stifling our voice. Go downtown and hear the voices over at the Vineyard. Learn our history.

Review By: Brittany Goodwin

Photos By:  Carol Rosegg

Revolt. She Said. Revolt Again @ Soho Rep

FINALLY! A play that pokes and prods and slices and tickles at language and the female voice (and mouth, really). REVOLT.SHE SAID.REVOLT AGAIN. is this master culmination of every single female voice and the strides they’ve made in the theatre unfolding and, quite literally, exploding in your face in an hour and 5 minutes. No intermission. No break to think. But you do get a snack.

You see, this play is comprised of different surrealist/absurdist conversations, which seem absolutely insane at first, then either you become desensitized and fall into their psyche or they just finally arrive to these totally accessible thoughts that MAKE YOU MAD. & yes, you totally want to revolt!

 And there are these projections on the wall that help you realize what the hell youre mad about! “Revolutionize the language (invert it)” “Revolutionize the world (don’t reproduce)” etc.

A particularly stunning vignette was Daniel Abeles and Eboni Booth’s characters interactions with Molly Bernard’s character who laid down in aisle 7 of a supermarket with her dress over her head covered in watermelon (watermelon becomes a theme within all these stories). Bernard has this absolutely heart wrenching speech about a woman’s body and if you crave hurt and sex and war, when it all inevitably comes to you, you will be unphased. Because you have allowed it.  

What an amazing fit director Lileana Blain Cruz was to Alice Birch’s words.  She mastered the simplicity and stark, alienating tone of the first half, and the gutting, explosive second half.  Adam Rigg’s set design was super smart and only enhanced this shifting piece and aided to Blain Cruz’s movement.

The actors were top notch- especially for mastering the unique nuances of British drama. Molly Bernard was undoubtedly the heart and soul of the piece.  Her versatility and insights to these different characters she represented is an everlasting vision. Jennifer Ikeda was most powerful in her “Revolutionize the world” portion- physically invested, tears dripping from her face. Eboni Booth was stunning in that portion as well, cutting off her tongue and puking on the table. Daniel Abeles had a tough job as the “token male”, but did it with finesse.

 

And the rest? You must (must must) go see for yourself.  It is certainly the diadem on the crown of feminist theatre. You’ll be thinking about this one for years to come, and who knows? Maybe we will become one step closer to a revolution. 

Review By: Brittany Goodwin
Photos By:  Julieta Cervantes

Stupid Fu**ing Bird @ Pearl Theatre Company

We’ve all seen so many adaptations and incarnations of all the greats. And we all know it gets repetitive, redundant and more times than not completely superfluous and vein.

Then a “sort of” adaptation comes along and changes how you see and experience the classics forever. And how does it begin?

…with yelling at the actors to “start the f^cking play!”

Stupid F^cking Bird is so damned refreshing. Not only does it brilliantly satirize Chekov-isms, but it has such amazingly powerful statements about the theatre we patronize today. Each and every scene is littered with asides of incredible statements and ideas that physically punch you in the gut, and when you’re thinking about them late (because  you can NOT stop talking about them), you have that moment of: Holy crap. Were they experiencing this in the 1800s too?

 
The plot is literally that of the Seagulls, except in the end of this one, we don’t know if Conrad kills himself. Christopher Sears plays Conrad and he is hands down, one of the most captivating individuals you will lay your eyes on this entire season.  His intensity and passion never falters, almost as if he’s running a marathon the duration of the show.  Every moment, every subtlety you pick up on because he has your constant attention. Bianca Lochtefeld plays his mother, Emma, and she is absolute perfection, delivering a monologue in the second act that chills you to the bone.  Joey Parsons as Mash is hilarious; totally nailing and epitomizing the over the top “poor me” Chekhovian female.

Davis McCallum’s staging could not be more perfect or powerful, utilizing a unique space to the fullest. His meta approach both invites and isolates you. Sandra Goldmark’s set design was so visually stimulating and truly allowed you to focus on whats being said and whats not being said in an environment that made us feel that we were all in a play together. Her concept for act one was vastly different than act two, mirroring the point that act one is merely a rehearsal, act two is life.

This is one not to miss. Something this honest, raw and thought provoking only comes around once in a blue moon. Run to go catch this stupid f^cking bird before another play shoots it out of the sky.

Review By: Brittany Goodwin

Photos By: Russ Rowland

Bright Star @ The Cort Theater

Looking for a unique Broadway experience with a breath of fresh air from the hip hop and heaviness of the past season? Somewhat of a hybrid between a feel good time and a thought provoking evening? A show that makes you say “Huh, I’ve never seen anything like that before.” Well, look no further, because Steve Martin and Evie Brickell’s Bright Star is most certainly the show for you.

The time is 1920-1940 in sugar sweet North Carolina where the heat is hot and the actors are hotter. The heart of Bright Star’s story is that of the love persuasion that spans for 20 years between Alice Murphy (Cusak) and Jimmy Ray Dobbs (Nolan).   At the top of show, we meet Billy Cane (Shivley) who just came home from war and wants to be a writer. That dream takes him to Asheville, where he meets Alice Murphey and the news he receives from her will change his life forever.

Carmen Cusak was simply radiant in her Broadway debut. Her portrayal of Alice Murphy was beautifully organic and gave so much dimension to a simple story. Paul Alexander Nolan was nothing short of energized sex appeal, pushing forward the story with him as he danced along. A.J. Shivley was the naïve Southern boy that pulled at our heartstrings and laced the piece all together.

At the shows end, Walter Bobbie and Josh Rhode’s staging and dancing floods your mind and you can’t help but gush over the nuances. It filled so much air and added excitement, almost as if it were a written narrative within itself. One particular stand out scene was a flashback in which the cast danced the whole vignette in reverse. Eugene Lee’s set concept perfectly mirrors the spirit of the bluegrass music, even providing an epicenter for the band: the wooden cottage that sweeps constantly across the stage as if it were a character as well. 

So toe tap on down to the Cort Theatre and be ready to get swept away by the powers of love, loss and bluegrass music!

Review By: Brittany Goodwin

Photos By: Joan Marcus

Daddy Long Legs @ The Davenport Theatre

Looking to resuscitate long lost feelings of love? Step into the Davenport Theatre, transformed into an intimate parlor, and a postcard will fall out of your program and attached will be a matching pen. After you write a postcard, to your true love of course, it will be stamped and mailed for you at the box office, then the show will begin.

And just like all the great, timeless love stories, Daddy Long Legs begins with a letter.

Megan McGinnis brilliantly portrays Jerusha Abbott, the oldest orphan girl at the John Grier Home. One day, she receives a letter from a cryptic man who came into the orphanage, who she described as tall and lanky like a Daddy Long Legs (get it?). In this letter, he states that he will send her to college but in return, she must write him once a month. Jerusha channels these letters into a personal diary, accounting + itemizing every thing that happens to her at school. Daddy Long Legs, played by Paul Alexander Nolan, begins to fall in love with her and throughout the play, tried to muster the confidence to expose his true identity- her roommate’s uncle. And as you can imagine, his identity is exposed at long last and they are to be wed, as all great, timeless love stories end.

Nolan’s performance is ever so notable because his role is so reactionary to all of Jerusha’s letters. We always know how he is feeling when he is silent, upstage at his desk. And McGinnis? Well, she really WAS Jerusha Abbott. The tears and truth to her each and every letter is reason alone to pick up a ticket.

John Caird’s staging was so simplistically charming- huge trunks all over the downstage playing area that transformed into a bed, a mountain, and storage area for lots and lots of books and letters. You used your imagination just as Jerusha did to muse about what her Daddy Long Legs looked like. 

If you are in search of a charming evening, look no further than the Davenport Theatre and this production of Daddy Long Legs. Not only is it endearing and syrupy sweet, it is a lovely break from the modern world of texts and tweets and may inspire you to write a letter of your own. 

Review By: Brittany Goodwin

Photos By: Jeremy Daniel

Hamlet in Bed @ The Rattlestick Theater

Tucked away in Greenwich Village, far, far away from the lights + noise of Times Square lives a beautifully intelligent and emotionally driven new work called Hamlet in Bed.

Written and starring the brilliant Michael Laurence, this play supersedes expectations of “yet another new interpretation of the classic.” 

The theatre is laid out in such a way that you feel a part of the set and story. Complete with exposed green room, set shop and yes, you even go visit the powder room on the stage if need be; one certainly feels at home in the atmosphere.

At the top of show, we are presented with a problem: Michael thinks he IS Hamlet. Silly, yes, but then we come to find out the thought process behind his rational. Michael, an adopted native New Yorker buys a diary at a thrift store penned by an the actress named Anna playing Ophelia. Through this journal, we find out that Anna gets pregnant by the actor playing Hamlet and after she delivers the baby and gives him up for adoption, the father kills himself. The date is Michael’s birthday. Michael believes that Anna must be his mother, finds her and casts her as Gertrude in his production of “Hamlet in Bed.” During the rehearsal process is a series of isolated vignettes that showcase their journeys culminating to their production. They agree that Michael must be Anna’s son and they both feel a little bit more complete than they have before.

This two character powerhouse really explores the inner mechanics of how the actor prepares while providing a fascinating story that everyone was so invested in. Michael Laurence is absolutely heartbreaking in his delivery and demeanor. We see how broken a person can be without a paternal figure and how it translates into their everyday choices. Annette O’Toole is equally as heartbreaking and chilling as a woman who let one choice ruin her entire path. She drips pathos and heart ache throughout all her solo moments and the strong woman she tries to be when she’s around Michael.

“I got all these beds because I think Hamlet would be in bed. So depressed he can’t get out so he does the whole play here” Michael explains. 

For a thought provoking night out, I strongly advise you to check out HAMLET IN BED. Special pieces such as these come around once every few seasons. You’ll never quite look at Hamlet the same way again.
Review By: Brittany Goodwin
Photos By: Tristan Fuge

Cymbeline @ The Delacorte Theatre w/ Public Theatre

Despite varied reviews on The Public Theatre’s Cymbeline, we were blown away by the whimsy, ingenuity and overall fun of the production. Cymbeline, a play most directors don’t touch with a ten foot pole, was thoughtfully executed capturing the true melodramatic nature of the text and circumstance. Embodied by a fine ensemble of actors and directed brilliantly by  Daniel Sullivan, Cymbeline will tickle your funnybone and touch your heart with its music, aesthetic and of course, message.

While the title refers to King Cymbeline, the real stars of the show are Princess Imogen and Posthumus, who are marvelously brought to life by Tony-nominated (and American Horror Story alum) Lily Rabe and Hamish Linklater. These two simply soar and inject passionate energy every moment they are on stage. Rabe provides a feisty spirit to a character who could veer too prim and proper, all the while still maintaining her innocence that Imogen is noted for having. Linklater is one of several actors who double their roles, as he takes on both Imogen’s lover Posthumus and her betrothed lover/stepbrother Cloten. He effortlessly balances both characters by making them distinctly different (and with the aid of a silly wig reminiscent of Moe a la the 3 Stooges), while also exposing the similarities and differences between the two. This combination provides an intriguing antithesis of each of their relationships with the princess. Linklater is absolutely hysterical as the Queen’s dimwitted son, punching all of the correct moments to elicit laughs, while also sweet, strong, and heroic as Posthumus. His morning woo-ing song left the audience in stitches for a long while!

Raul Esparza is a deliciously evil Iachimo, decked out in a gangster-esque suit at the poker table in Italy. He exudes a despicable and cunning air as he wagers with Posthumus that he can seduce his virtuous and loyal Imogen. Esparza, who has a wide range of credits in theatre, film, and television, is able to show off his extraordinary singing skills thanks to music provided by Tom Kitt (Next to Normal). 

This adaptation of Cymbeline is driven by its modern folk rock score which kept your feet tapping the entire duration of the play. Mimi Lieber choreographs bright and bonnie dances that mirror the lighthearted nature of this melodrama. Overall, Sullivan has  assembled and directed an amazing team of actors and coached them brilliantly to bring to light one of Shakespeare’s “problem pieces”. It was certainly melodramatic, all the while seeing two sides to every story from the way he doubled the characters. The play is about forgiveness and trust and we certainly saw that culminate through all the journeys reaching their end at the conclusion of the play.

When one thinks of Shakespeare the likes of Romeo and Juliet or A Midsummer Night’s Dream usually come to mind. The late-romance of Cymbeline is not as well-known, and yet this production has gotten one of the most well-received reactions from an audience we have ever experienced. The laughs were long and constant and everyone rose to their feet in the concluding dance of an amazing evening. Head on over to the Delacorte and share the joy of love and language! 

Review By: Brittany Goodwin

Photos By: Michelle V. Agins

The Tempest @ The Delacorte Theater w/ The Publice Theater

Shakespeare in the Park’s production of The Tempest certainly took us by storm. It was imaginative and sensory, brought to life by fantastical masters of the language. The actors were superb and wonderfully showcased a large skill set, creating a fascinating environment provided by Michael Greif’s direction.

From moment one, the production captures your focus and places you into the shipwreck- no longer in Central Park, New York, New York. Being outdoors allows you to experience the elements as the characters are, and truly elevates the sensibility.

The scenic design by Riccardo Hernandez was beautifully simplistic, and offered a fresh change in locale as the play goes on, married to David Lander’s gorgeous lighting design. The Public withheld its amazing standards even in the outdoor elements. Emily Rebholz designed costumes that mirrored the surrealistic, timeless quality of the adaptation of the piece, thus further allowing the story to feel contemporary and relevant to our modern audience. Arthur Solari’s percussion underscored the action beautifully, giving the piece a heart beat. 

Sam Waterston leads the show as Prospero, the exiled ex-duke of Milan, in a brilliantly captivating manner. He embodies a man driven by both passion and logic, and the audience is able to see his pain and triumphs with every character he meets. The star vehicle, Jesse Tyler Fergusen as Trinculo, certainly does not disappoint. He injected comedy and whimsy into the scene, forcing the audience to be fixated on his hilarious reactions and commentary to the given circumstances. Other standout performances include Louis Cancelmi as Caliban, who tells his story not only verbally, but also giving a chilling and utterly compelling physicality to his tale. Chris Perfetti’s attention to the language and essence of a spirit was irresistible as Ariel.  His focus and movements were ethereal, enrapturing the audience’s eye as he moved across the stage. Ensemble troupe members were able to showcase their various talents, whether it be silk dancing, contortion, or glorious and haunting harmonies. Everyone’s talent and mastery of the Shakespearean language were demonstrated through the fact that it flowed effortlessly and felt like you were watching a modern tale.

The Public Theatre provides a unique thought-provoking free experience for the general public to enjoy and appreciate. The crowd rose to its feet at the conclusion of the show and voiced their endless appreciation for the actors’, designers’ and directors’ work. So pack up your picnic basket and head on down to the Delacorte Theatre in Central Park! May only an actual tempest deter you from running to see this production.

Review By: Brittany Goodwin
Photos By: Joan Marcus

Finding Neverland @ the Lunt-Fontanne Theatre

The heartwarming Finding Neverland is a fantastic new musical brought to life by director Diane Paulus (Pippin, the Gershwin's Porgy and Bess), with music and lyrics by Gary Barlow and Eliot Kennedy and the book by British playwright James Graham. It is the talk of the town and rightfully so.

At the curtains rise, post tinker bell's entrance of course, we are introduced to Mr J.M. Barrie himself (an incredible Matthew Morrison) setting the scene on how his life was before Peter, the boy & the story, entered his life. We see the denouement of a life artificial when Barrie sits in the park and discovers Peter and his family. This naturally turns into a love story betwixt Peter's mother Sylvia (the gorgeous Laura Michelle Kelly) and Barrie. We trace their relationship as the story line progresses of a boy who never wants to grow up and experiences great loss. Sylvia grows sick, so Barrie and his cast perform opening night at the nursery. It concludes the death of a mother and introduces a new guardian in Peter and his brothers lives, Barrie.

Peter (Aiden Gemme) and his siblings give tangible life to the story we all know and love. We see. Peter's story is a story of loss and struggle, which makes the audience reevaluate the depths of one of fairy tale's most beloved characters.

The show is littered with small nods to the original story- the character of Elliot mirrors Smee, a dog that looks like Nana, and allusions to mermaids and Tinkerbell to name a few. But half the fun is finding them yourself!

All the while, the show has spectacle and laughs but most importantly, an honest look on being a grown up, a child and what got lost along the way. You walk in smiling to the Lunt-Fontanne Theatre expecting an experience of flight and whimsy and leave having received so much more.



Review By: Brittany Goodwin
Photos By: Carole Rosegg