A Bronx Tale @ The Longacre Theater

I feel like I have said this in many shows I review, but I honestly did not know what to expect when I sat down in the Longacre Theatre to watch A Bronx Tale. I did not know it was originally a one man show, and a movie, I am late to the party!  It is safe to assume that you are going to watch someone’s tale in the Bronx, Belmont Avenue to be exact.

We follow the story of Calogero. The year is 1960 and we are in a stereotypical Italian “neighborhood.” And what’s a classic neighborhood without some grown men carrying baseball bats and handling some “business”.  The young Calogero, played beautifully by Hudson Loverro, witnesses a murder and the show takes off and doesn’t slow down. Calogero decides he’s not a rat and the neighborhoods leader, Sunny, decides he’s one of the guys. Instantly we have a struggle between Sunny, and Calogero’s father. What kind of man will he become?

Did I forget to mention that this show is actually a musical! It’s hard to believe because the show is filled with so much drama, information, and yet the music doesn’t feel forced at all. Some stand out numbers were, Roll em, where we see how Sunny makes a lot of his money, and meet (for lack of a better world) the rest of the mob. Another song I just can’t get out of my head is “I like it” which gives young Calogero a chance to shine and shows us he’s ok with being one of the guys.

We see Calogero grow into a man. And that’s when things get real difficult. The world is changing and so is the neighborhood.  Calogero, played by Bobby Conte Thornton does a fantastic job moving this show along, and makes the whole audience fall in love with him.  So, it’s obvious he needs a love interest. Enter Jane, a girl from the other side of the neighborhood, Webster Avenue to be exact. Racial tensions rise, fights between the neighborhoods occur, a real Romeo and Juliette vibe.

My only problem with this show was a lot of things we glossed over. I wanted to see more of the love story between Calogero and Jane. I wanted more struggles between Sunny and Lorenzo. I wanted more of Rosina, his mother. I think there might have been too many side plots.

The cast was absolutely amazing. Lorenzo, played by Richard H Blake will absolutely tear your heart out and break it to a million pieces and blow you away with his voice. Lucia Giannetta (Rosina) and Ariana Debose (Jane) both had amazing solos but again, wish I got to see them more! Nick Cordero (Sunny) makes me remember why I will always have a crush on an Italian man. He has such a charm you can’t help but love him and root for him the entire show.

A Bronx Tale has something for everyone. It’s filled with lovely little comedic gems such as a ‘girlfriend test’ and just good ole neighborhood charm that will make anyone reminisce on their youth. This could be… One of the great ones.

Review By: Briana Burnside
Photos By: Joan Marcus

Les Liasions Dangereuses @ The Booth Theater

Since its initial 1987 Broadway debut with Lindsay Duncan and Alan Rickman, Les Liasions Dangereuses has returned to the Booth Theatre starring Janet McTeer and Liev Schreiber. A performance filled with the underbelly of intrigue and sexual manipulation of ancien régime France comes from Christopher Hampton’s adaptation of Choderlos de Laclos’ 1787 novel.

Directed by Josie Rourke, Dangereuses witty lines and scintillating tales scurry across the stage in beautiful period garb designed by Tom Scutt. Scutt also designed the unit set that resembles an old art gallery—the walls peeling and gorgeous paintings lying about, waiting to be properly marveled at.

Janet McTeer plays La Marquise de Merteuil, a happily widowed aristocrat who gains her pleasure from the power she imposes on others—her success measured only by the misery and destruction that falls before her. Expertly, she hides her intentions behind her perfect mannerisms and military-like strategy. Her aim is to exercise the only power she can possibly possess as a woman and achieve its ends better than a man. Her competitor is Liev Schreiber, Le Vicomte de Valmont, serially unwed and searching for the highest conquests to earn him fame and legend (from his loins). His intentions only hidden by his quick wit and easy command of a woman’s virtue (or lack thereof).

Their major victims are a 15-year-old virgin, Cecile Valanges (Elena Kampouris), her true love Le Chevalier Danceny (Raffi Barsoumian), and a happily married and virtuous woman Madame de Tourvel (Birgitte Hjort Sorensen). La Marquise desires revenge on a former lover and tasks Valmont to deflower Cecile before her impending marriage and Valmont wishes to become an irresistible yearning of Madame de Tourvel; enough for her to drop her religious afflictions and leave her husband. A feat he views as the height of his career; so impossible that only he can achieve its end.

What ensues is Schreiber and McTeer commanding the stage and performance. Each one pulled from the audience a sense of overarching foreboding and hopelessness. Rourke was careful to include comedic relief wherever possible. The acting was without flaw and the play itself a dark undertaking where characters shed their innocence, their feelings of true love and desires for the art of the game.

Difficult as it is to bring all aspects of a novel to life, Les Liaisions Dangereuses does its best and is graced with a very capable cast. While there was a lot of comedy and talent to bridge the gaps of a thin plot and overt hideous intentions that did not always run deeper, Dangereuses opened an eye to the musical chairs of lovers and destroyers of pre-revolution France.

Review By: Alex Lipari
Photos By: Joan Marcus

Reliving the Memory: Cats at the Neil Simon Theatre

The original 1982 production of Cats was a game-changer for the Broadway musical. It was one of the first mega-hits of New York theatre, and quickly became the must-see musical. The run lasted nearly 18 years, and held the title of Longest Running Broadway Musical for some time, and you know what? With good reason. The concept was simple, the intent was sweet. Based on TS Eliot’s 1939 poetry collection “Old Possum’s Book of Practical Cats,” which introduces an array of feline characters, each with their own unique attributes. Add a show-stopping score from Sir Andrew Lloyd Webber, memorable choreography by Gillian Lynne, and lauded direction from Trevor Nunn, and you’ve got a recipe for a hit.  It was a musical that appealed to a wide audience: seasoned theatergoers and new young audiences alike flocked to the Winter Garden to see Cats. It was a production audiences would see multiple times, which until then was not common. After winning 7 Tonys and giving 7485 performances, it became a beloved, iconic piece of musical theatre.

& now, its back!

When I was 8 years old, my mother took me to the Winter Garden for my first Broadway musical. That performance of Cats has stayed with me to this day. The cats coming into the audience and one of them rubbing its head on my knee.  Mungojerrie and Rumpelteazer’s double-cartwheel. The cats using their findings in the junkyard to dress up as dogs. Victoria, the white cat’s solo that I tried to recreate in my living room for months after seeing the musical.  So when it was announced Cats was making its return to Broadway, I pounced (no pun intended).  Cats was responsible for my falling in love with theatre. I had to relive the ‘Memory’ (pun absolutely intended). 

The new Broadway production of Cats now lives in the Neil Simon Theatre, once again under the direction of Trevor Nunn, with new choreography by Andy Blankenbuehler, holding true to the original work by Gillian Lynne. The junkyard set was just as I remembered it, now stretching throughout the theater into the mezzanine. When the overture began and the glowing green eyes started appearing in the aisles, an eruption of applause began, and I realized I was not the only one reliving the beloved theatre experience of The Jellicle Ball. 

Broadway revivals will commonly reimagine the original production, with new staging or concepts, like when the West End run of Cats last year updated Rum Tum Tugger from the Elvis-esque character to a hip-hop star; too much criticism from the purists. However, I was pleasantly surprised to find Nunn kept this production nearly identical to his original (giving us back the well Rum Tum Tugger we know and love). A smart move by the director, as there are so many iconic moments and beloved nuances. 

Nunn’s changes are few but subtle, and they work well. He simply enhanced the theatrical experience by utilizing the advancements in theatrical technology, showcasing the incredible dancers of our generation, more props, more bells, more whistles. 

Before, “Bustopher Jones: the Cat About Town” was a throwaway number about a fat cat. Now we get to see the fat cat (played by Christopher Gurr) dining in restaurants and clubs, which is much more interesting to watch. The deletion of the arguably racist song “Growltiger’s Last Stand,” is another smart move by Nunn, who now utilizes “The Awefull Battle of the Pekes and the Pollicles” as Gus the Theatre Cat’s (once again Gurr) return to the stage. Even then, there still is a questionable line from Gus, which Jellicle right-hand cat Munkustrap (Andy Huntington Jones) plays off in a very similar fashion to the way you say “Don’t mind grandma, she’s from a different time.”  Production numbers that were always regarded as show-stoppers, like “Mungojerrie and Rumpelteazer” or “Magical Mister Mistoffelees” have somehow been made more impressive with Blankenbuehler’s new choreography. I got my fix of the double cartwheel, but Mungojerrie (Jess LeProtto, of Newsies and So You Think You Can Dance fame), and Rumpelteazer (Shonica Gooden, fresh from mega-smash Hamilton) showed off so many more impressive tricks, I was reminded why that was always my favorite scene.  So You Think You Can Dance winner Ricky Ubeda is given the opportunity to show his incredible range as a dancer as Mister Mistoffelees, in a number that includes several dance styles, more magic tricks, and a noteworthy update to the light-up jacket the character has always been known for. 

British pop singer Leona Lewis makes her Broadway debut as Grizabella the Glamour Cat, the role which made Betty Buckley famous and introduced the world to probably the most well-known Broadway ballad of all time, “Memory.” It seems an odd choice to have the old, washed up cat played by someone so young and beautiful, and Lewis at times seems a little too well put together to be a cat fallen from her prime. It sometimes shows that Lewis is not a “theatre performer” in the way she moves onstage, but it works for the character, who supposed to be out of touch with the other cats. Lewis absolutely delivers with her vocal abilities, getting a roar of applause during that iconic key-change in “Memory.”  What at first seemed like an odd casting choice now made sense.  

I went into Cats looking to be reminded of fond memories, and I was. I was reconnected with familiar characters and scenery that brought back the same feeling I had seeing the show at age 8 with my mother. And then, in the seat in front of me, I spotted a young girl around age 8 with her mother, and every time a cat would come up and interact with her, she would squeal with delight. And then it made sense as to why Cats, a musical that is literally about a group of singing and dancing cats, has become so adored by audiences  now for 34 years; because there is a certain magic to it that you can’t help but enjoy yourself. This revival reminds old fans why they love it, and allows new fans fall in love with live musical theatre.  

                Cats opened at the Neil Simon Theatre on July 31, 2016

Review By: Kelcie Kosberg

Photos By: Christophe Ena

Paramour @ The Lyric Theater

Spectacle. Wonderment. Awe-inspiring. These are just a few words that come to mind when thinking of the legendary Cirque du Soleil, the contemporary circus group that focuses on theatricality and is the largest theatrical producer in the world. Having permanent shows in Las Vegas and Florida, Paramour is the group’s venture to take on the Big Apple. The show combines Cirque’s signature circus arts with original songs, dance, and film, to create a new and breathtaking night at the theatre.

Paramour is billed as “A Cirque du Soleil Musical”, being the first of the entertainment company’s productions to have a fully integrated book/story attached to it. The plot follows three main players- renowned film director AJ Golden played by Jeremy Kushnier (Footloose, Rent), Ruby Lewis as redheaded singer striving to be a star Indigo James, and aspiring young songwriter Joey Green played by Ryan Vona (Once). After AJ recruits Indigo to be his new leading lady and enlists Joey to write the perfect love song for his film the three set off on a journey through the Golden Age of Hollywood, deciding between love, art, and one another. The musical features several songs, performed beautifully, but the main attraction of course comes with the circus acts.

Featuring a cast of 40 wonderfully talented artists, the Cirque performers are the real stars of the show. Performing mesmerizing tricks and stunts such as trapeze, contortion, trampolines, juggling, tumbling, and much more, the ensemble steals every moment they set foot on stage. The circus sections are absolutely enthralling and transport you back in time- leaving the audience feeling amazed and filled with wonder and wondering “how is that even possible?”. The dance sequences are extremely enjoyable, as the full cast comes together to show off their specific talents- whether that is singing high notes, doing four back flips in the air, or tap dancing (even in roller skates!). The number “Love Triangle” provides a wonderful hybrid of Paramour’s features, while having the three actors expressing their feelings through song a mirror-set of acrobats provide the physical exemplification of these words through their incredible movements, as the woman travels between one man on the ground and another up high in the trapeze. Identical twin acrobats Andrew and Kevin Atherton, through their absolutely astounding aerial-straps routine, present one of the standouts of the show. The two soar through the air above the audience, contorting their bodies and managing incredible feats, providing the most captivating minutes of the night.

Paramour is an all around spectacle. Aside from the amazing acrobatic and aerial routines, the design is remarkable. Playing at the Lyric Theatre, the second largest Broadway house seating almost 2,000 people, the gorgeous house provides the perfect aesthetic for the Golden Age era of the ‘30s and ‘40s with magnificent sets that transform between film sets, speakeasies, and city rooftops. The film theme is illuminated throughout the show with its use of live video, multimedia projections, and amazing lighting and shadow work, creating an integrated and immersive experience. There is always somewhere to look, around, above, even in the aisles.  

Paramour on Broadway is so much more than a show, it is an experience. For those new to Cirque, it is a good entryway, providing a sense of story to hold onto in between the incredible circus artistry, which will fill you with a child-like sense of amazement. If you’re looking for a spectacular evening of entertainment, with glitz, glamour, and gigantic talent, then hop, flip, or fly on over to the Lyric Theatre for Cirque du Soleil’s Paramour.

Review By: April Sigler
Photos BY: Sara Krulwich

Tuck Everlasting @ The Broadhurst Theatre

Are you feeling down in the dumps? Are your adult responsibilities draining you? Well, head down to the Broadhurst Theatre and see, Tuck Everlasting... immediately!  As you enter the theatre you are immersed into a magical forest. You can’t help but awe at the stars and this giant tree (which I had to physically restrain myself from climbing.) The entire creative team does a fantastic job crafting a world we want to live in.

The show tackles the timeless question: IF you could live forever, would you? We follow the adventure of Winnie Foster, who stumbles upon a family that is a little odd and discovers a secret about them that she can never break! Winnie Foster played by the amazing Sarah Charles Lewis, manages to make the entire audience fall in love with her! You can’t help but smile every time she’s on stage, and boy does she have a voice! Oh, did we mention she is only eleven years old?

The Tuck family has more baggage than anticipated but you can’t blame them, they are over one hundred years old! They are led by Mom (Carolee Camello) who brings a sweetness yet stern presence to the stage. Dad(Michael Park) who manages to make dad jokes actually funny (who knew?). And rounding out the family are oldest brother Miles (Robert Lenzi) who grounds the Tuck family and Jesse (Andrew Keegan Bolger) whose energy bounces off stage, making you want to go wherever he goes!

We can’t forget about comedy duo Hugo (Michael Wartella) and Constable Joe (Fred Applegate). Following their case to find Winnie is sugar sweet, charming and hilarious. In addition, Winnie’s Mother (Valerie Wright) and Nana (Pippa Pearthree) serve memorable moments; you wish they were somehow incorporated more!  Tough cookie Nana almost steals the show!

Jesse Tuck and Winnie Foster capture your hearts early in the show. Once they climb a tree, you are sucked into this whimsical forest. The whimsy was at its peak during the Fair. Everything from the set, costumes, lighting, DANCING, captured the true magic of the show. It made every child gasp in the audience. It made every adult reminisce a childhood memory.

This show has something for everyone, every type of person, every type of dreamer, at any age. We have adult humor that goes over the kids' heads, and we have spectacle to keep them entertained. It was truly a great night of musical theatre. Tuck Everlasting will make you smile throughout the entire show… until the end. There is something for every generation, just watch out for the evil banana.

Review By: Briana Burnisde
Photos By:  Greg Mooney

American Psycho @ The Gerald Schoenfeld Theater

2010: the announcement that Bret Easton Ellis’ controversial 1991 novel American Psycho was being developed into a musical was met with skepticism & a general "huh?" A dream team assembled: Duncan Sheik (Spring Awakening) signed on to compose, a book by Roberto Aguirre-Sacasa developed, and direction from Rupert Goold was set. A successful run in London with Matt Smith in the titular role provoked a Broadway run to go into works. And God are we happy it did.
American Psycho chronicles the life of Patrick Bateman, a yuppie investment banker by day and serial killer by night. Bateman, along with everyone else in his life, is the textbook definition of the late-80’s yuppie: obsessed with designers, the perfect business card, getting into the best restaurants, and of course, where to score the best coke. 

Upon entering the Gerald Schoenfeld Theatre, you’re immediately given a taste of Es Devlin and Justin Townsend’s Tony nominated set and lighting designs, respectively. A pristine, stark white apartment is framed by towering walls of video tapes, bright white lights shine across the stage, and a haunting, tonal pre-show music sets the scene. It’s striking, really. There’s something subliminally scary about the emptiness we see. The opening moment is shocking enough to grab the attention of the audience. For the next 2 hours and 40 minutes, amidst strobes, Finn Ross’ kinetic projections, and plenty of blood, you’re drawn just like rubberneckers on the highway. You can not look away. 

The musical pulls equally from its two source materials: the iconic sequences from Mary Harron’s 2000 film (because let’s face it, we were all waiting for Bateman to dance to Huey Lewis in his raincoat!) and Ellis' novel. The movie homages we know and love amongst plot points previously only seen in Ellis’ novel (like Bateman’s vacation to the Hamptons) are a very smart move; taking the best moments and bits of dialogue to form a cohesive story. Sheik’s all-electronic score is driving, thumping. It captures the essence of the decadent era it represents, with interludes of well-known 80’s pop tunes woven throughout seamlessly. Lynne Page’s choreography is oftentimes robotic, reminiscent of Thriller, and becomes increasingly animalistic as we witness Bateman’s swift spiral into complete madness. 

Benjamin Walker’s (Bloody Bloody Andrew Jackson) portrayal of Patrick Bateman is calm and stoic. He is articulated and has a strong opinion on almost anything—those who disagree with him are unknowingly risking their lives. Walker plays Bateman so straight and serious, that we can’t help but find him humorous, so when he cracks, you shut up and realize just how damaged a being he is. Walker spends the majority of Act II half-naked and smeared in blood, convulsing from madness, yet we as an audience still side with him. He is subtle and engaging, an impressive combination for a leading actor. 

Drew Moerlein (in his Broadway debut) as Paul Owen is the antithesis of Bateman. He is charming, effortless, seemingly perfect…so naturally Bateman can’t stand him, and he must die. Heléne Yorke (Bullets Over Broadway) as Bateman’s fiancé Evelyn is wonderfully vapid in a scene-stealing performance. Yorke’s portrayal is over-the-top, hilarious. The effect on her voice is slightly Valley Girl, as she drones about having the correct number of people at a dinner party or wanting Annie Leibovitz to photograph her wedding. Tony winner Alice Ripley is severely underutilized, as a handful of characters in what is essentially a featured ensemble role. Nevertheless, she is delightful as Bateman’s mother who refuses to remove her sunglasses, and manages to slip in an attention-grabbing riff as a club-goer during the cover of Phil Collin’s “In the Air Tonight.” She seems misplaced solely because she really needed to be in a larger role. This woman deserves way more than having to wipe the blood off the stage with a towel!

 Other noteworthy performances come from Jennifer Damiano (Next to Normal) as Bateman’s secretary Jean, so sweet and pure, it’s both relieving and heartbreaking when Bateman decides doesn’t want to hurt her, literally and figuratively. Theo Stockman (American Idiot) as the smarmy, sometimes oily Timothy Price; and featured ensemble member Holly James (in her Broadway debut), who is so engaging it makes sense she’s the sole cast member to play both West End and Broadway. 

Despite our absolute love and verve for this new piece, it doesn’t come as a complete shock that American Psycho has been receiving mixed reactions. Goold’s direction makes the production self-aware and satirical, continually poking fun at itself. Sheik’s electro-pop score is so catchy, I’m not-so-patiently waiting for the Broadway Cast Recording. It is truly a production that has to be experienced live; the new Sweeney Todd for millennials. It is such a stylized, niche-market type product (think Reefer Madness / Evil Dead the Musical / the beloved flop that was Carrie), perhaps stylized to the point of potentially not reaching a wide enough audience for an extended run. But if you're like us, and eat this type of theater up, it is a sight to behold.  

Review By: Kelcie Kosberg

Photos By: Jeremy Daniel

Waitress @ The Brooks Atkinson Theater

If someone were to tell you there is a place in the city that you can hear killer new music and experience every emotion known to man all the while smelling warm pie wafting through the air, you’d think we're was crazy, right?

Look no further, folks: WAITRESS IS HERE.

The crown jewel of Broadway just arrived at the Brooks Atkinson Theatre and audiences couldn’t be more excited (hence their hashtag #worththewaitress)

The story of Waitress is beautifully simplistic: Our heroine marries the wrong guy.  He gets her pregnant. She has an affair with her ob-Gyn. She has the baby and leaves them both. Did I mention she makes pies?

Jessie Mueller took on the role of Jenna (originated by Keri Russell in the 2007 movie) with grace, humanity and ingenuity. Her Jenna was completely different than her predecessor and it left the audience so blissfully connected, you could find them audibly weeping when struggles came afoot. Mueller’s voice filled Sarah Bareilles’s iconic style absolutely perfectly, and her connection to the words- be it playful phrases or palpable pathos- was just an absolute treat.

Her sidekicks Kimiko Glenn and Keala Settle were perfect juxtapositions to Mueller’s Jenna that you couldn’t help but smile and laugh when the three were together at Joe’s Pie Diner. Drew Gehling as Dr. Pomatter simply stole your heart and served as an amazing hero to Jenna’s tragic tale.

Diane Paulus did wonders staging this beautiful show. Every bit of Jenna’s “out of body” thoughts were physicalized by the ensemble; be it handing her all the ingredients to her hilarious pies or simply going through contractions all together. The fluidity of their movement was flawless and propelled the piece forward. Time simply flew in that theatre. Scott Pask’s set design flipping from Joe’s Pie Diner to the Ob-Gyn’s was so much fun to watch and mirrored the fluidity of the staged movement. Christopher Akerlind’s lighting design is much to be commended for as well. Akerlind captured the color of thought and whimsy as well as absolute sadness in all of Jenna’s thoughts, which provided so much depth to what you were seeing and feeling.
 

So what are you waiting for? Go now to the Brooks Atkinson and see for yourself! But don't have dessert with your meal that evening- you can buy a pie at the door!

Review By: Brittany Goodwin

Photos By: Joan Marcus

The Father @ The Samuel J. Friedman Theatre

The Father makes it’s American premier at the Samuel J. Friedman Theatre with three-time Tony award winner Frank Langella returning to the stage—and he stole the show.

Directed by Doug Hughes, The Father takes a look into the mind of a man suffering from Alzheimer’s/memory loss. A popular theme this year, The Father took a unique approach to this brand of play. Hughes and scenic designer Scott Pask chronicled our main character, André’s, loss of memory with at first subtle changes to the stage—a missing book, a shifted chair; and then more dramatic—missing set pieces, rooms and whole shelves bare. Lighting designer Donald Holder also expressed the juxtaposition of André’s perception of time with angle changes of sunlight and street lamps.

The play begins with an exchange between Anne (Kathryn Erbe) and André (Frank Langella) in which we are introduced to André’s consistent repetition of sentences and loss of his watch and Anne’s exasperation and undying love for her father. André’s refusal to accept that he may be incorrect while his more lucid and caring daughter, Anne has had it right the whole time is a common theme throughout the play.

The rest of the production spans different timeframes in André’s life and by the audience’s account, in no uncertain order. We are left just as confused as André by the end and the journey itself is an interesting one. André is constantly afraid that his daughter will leave him alone in Paris to pursue her love interest in London, or did she already leave?

Langella interprets and expresses André’s character with the precision of an actor of his stature. Always taking up the whole stage, Langella brings into his performance a depth that infects other cast members. Easily the beacon of the show, he brings anger, confusion and the fear of being unable to properly perceive reality to the audience.

You are left to interpret whether or not Anne (Kathryn Erbe) quickly came to the end of her patience with her father—who has scared away countless nurses and refuses to allow her to enjoy her life while pining away at her long lost sister, or if she endured as long as we were left to perceive. Erbe captures this inner tumult easily, becoming a relatable character during Langella’s frustration-laden outbursts.

Anne’s husband, Pierre (or was it Antione?) is played by Brian Avers. At a loss for his second-class seat in his marriage with Anne, Avers takes us on the journey leading to the end of his love and rise of his hatred toward André’s condition. Avers’ anger is measured, consistent and believable.

André’s favored nurse, Laura (Hannah Cabell) had great chemistry with Langella. Reminding him of his lost daughter, Elise, Cabell brings a charming air out of Langella that spans the stage. Although she could also be Kathleen McNenny, yet another nurse of André’s while his doctor (Charles Borland) could easily be Pierre, or Antione.

The Father brings to light the recent popularity of discussing mental illness. Dark and at times humorous, the play was a long 90 minutes. While a great mental exercise to follow, Langella’s journey out of his flat and into a hospital was not perfectly riveting. However, seeing Langella light up the stage was well worth the journey.

Review By: Alex Lipari
Photos By: Joan Marcus

Eclipsed @ The Golden Theater

An eye-opening event, Eclipsed is something that will leave a lasting impression on you. Set in 2003, it tells the story of five different women’s survivals during the Second Liberian Civil War.  

Each woman’s experience is different, but at the same time, the core value of persistence and preservation thrives.

You enter the Golden Theater to be met with a minimalistic set that looks like a broken down hut.  The show begins and you are instantly transported to war.  We meet Wife #1 and Wife #3 who show fear and strength when the unseen Commanding Officer comes to select who will be joining him that night. We are then surprised when out from an unsuspecting set piece, comes Lupita Nyong'o, playing The Girl.  

The story continues and you learn that these women have been abducted and collected as the “wives” of the CO who he uses for his pleasure when he pleases.  The wives try to keep The Girl from being seen, but she is found and soon becomes Wife #4. Here, we see one of the ways women survived this brutal war.  Next, we meet Rita, who is a peace officer (with her own motives) who goes from camp to camp urging the COs to end this conflict.  She befriends Wife #1 and urges her to abandon her CO and become a peace officer, learn to read and have a chance of survival on her own terms.  Finally we meet Wife #3, who has left her place as wife and rapee, to become a solider.  She tries to sway The Girl to join her and take control of her destiny, putting a machine gun in her hand and promising her that anything she wants can be hers for the taking.  The Girl must choose between life of protection but no control of her body, or taking a place in the army and leading other girls to the same fate.  

A play about women, by women and starring all women, Eclipsed truly shines.  While the dialect and accents are can be hard to follow, you eventually settle in and have no trouble following along, empathizing and yearning for resolution.  While Lupita Nyong'o does well in the role, it was Pascale Armand, playing the wise-cracking, but all truthful, pregnant Wife #2 who really stole the show.  With her own battle of survival based around her unwanted pregnancy, her feelings about the CO and her eventual unwavering mother’s love toward her child, you cannot help but want the best for her.

Overall, Eclipsed gives a wonderful insight to a war that many, including myself, were completely unaware about.  You empathize with the women, even if you do not agree with their choices.  You are transported to their land, their homes and their turmoils through the skillful use of lighting (Jen Schriever) and the powerful sound design (Broken Chord).  You are exposed to a world that is unlike your own.  Kudos to Danai Gurira for her writing and to Liesl Tommy for her direction on a play that is unlike anything you have seen before.  Eclipsed is running on strictly limited engagement through June 19th.

Review By: Renee Demaio
Photos By: Sara Krulwich

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