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

Fool for Love @ The Samuel J. Friedman Theatre

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

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

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

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

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

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

Review By: Chrissy Cody
Photos By: Joan Marcus

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

Tales from Red Vienna @ New York City Center Stage 1

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

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

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

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

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

 

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

Review By: Chris Luner

Photos By: Sara Krulwich

The Snow Geese @ Samuel J. Friedman Theatre

The 1900s come alive in Snow Geese, the world premier drama by Sharr White directed by Daniel Sullivan and starring Emmy and Tony award winner Mary Louise Parker.

Recently widowed, Emily Gaesling(Mary Louise Parker), had decided to throw her annual hunting party to honor her eldest son, Duncan(Evan Jonigkeit), on his deployment overseas and her late husband’s memory, despite the fact that his spendthrift ways have left the family buried in debt. She is determined to believe that they are just as well off as they always were, refusing to listen to her younger, more level headed son, Arnold(Brian Cross).

Mary Louise Parker is no stranger to the theatre and has been seen in such shows as Proof, How I Learned to Drive, Angels in America, and of course her award winning television show “Weeds”. Usually dynamic and volatile onstage, I found her performance to be somewhat stilted due to the mannerisms she had adopted for the role. The effect made her less personable and relatable to the audience eliminating any sympathetic feelings for her character.

 

Brian Cross made his confident Broadway debut as the younger Gaesling brother. His chemistry with his older brother made them a strong familial duo with Evan Jonigkeit proving to be a great example of a leading actor of our generation.  While Cross’s love story with the maid, Victorya(Jessica Love) a Central European refugee from a once prominent family, created empathy.

Worth mentioning, is Victoria Clark’s performance as the discreetly intervening sister, Clarissa, and her immigrant husband Max(Danny Burnstein), who despite being an American citizen for thirty years has been ostracized due to growing German hostility stemmed from the war. Heartwarming, engaging, and truly stunning are just a few words that come to mind to describe Clark and Burnstrein. Their story is heartbreaking and poignant.

Jonigkeit’s exuberance over “fixing” the problems overseas are sharply contrasted with Cross’s accounts of the rising casualties and Victorya’s personal accounts of hardship bringing to mind the harsh realities of war. The audience can’t help but draw a parallel between World War I and the modern day conflicts in the Middle East creating a drama worth talking about long after the curtain goes down.

The set designed by Tony award winner John Lee Beatty, was simply stunning. The set would rotate to create different dimensions throughout the play. I felt completely immersed into their world.  Japhy Weideman, the lighting designer, made the set come alive and set the mood perfectly.

Snow Geese is playing at the Samuel J. Friedman Theatre and is only running through December 15^th, so get your tickets now. 

Photos by: Joan Marcus
Review By: James Russo & Sarah Brown

Wit @The Samuel J. Friedman Theatre

Twenty-one years ago, Margret Edson wrote a play drawing on her few years of work in a cancer and AIDS research hospital.  Four years later, the piece was placed on stage and has gone on to touch the souls and hearts of millions around the world.  Exploring the themes of life, death, and a laugh, Wit finally gets the star treatment that it deserves - a Broadway theatre and a mega star actress.  Cynthia Nixon pulls out all of the stops (returning to the Manhattan Theatre Club after winning a Tony Award for Rabbit Hole) to deliver a truly beautiful performance full of heart, soul, and, of course, wit.

Vivian Bearing, Ph.D., a strong, educated woman, has just been given only two hours to give one last lecture before her stage four ovarian cancer takes over.  Taking the audience on a journey of her life, her childhood, college life, and career all come into focus in order to better understand how life ultimately leads to death.  From a young age, Vivian is fascinated by words - each word has a meaning and is very clear.  This love carries her forward to study the works of poet John Donne and eventually teach his Holy Sonnets as a poetry professor.  It is soon discovered that all of her knowledge on Donne and words will not help as much as she may have wanted when the studier becomes the studied.  It is now up to Vivian to piece together the meaning of life before her time runs out.

This deeply moving piece is fully realized by Cynthia Nixon (of television’s Sex in the City fame) as Vivian.  As a cancer survivor, Nixon has a special connection to this role that shines through each and every scene.  Her transformation throughout the course of the piece is a master lesson in acting - turning Vivian into a master professor in all forms of art.  Clearly defining each moment in Vivian’s life from five years old to world class professor to cancer patient, Nixon takes a challenging piece and turns it into one grand poem.  Nixon delivers the performance of a life time (not to mention how stunning she looks even in a hospital gown and baseball cap)!  Around Nixon is a wonderful ensemble helping tell the tale of Vivian to all who enter the theatre.  The hospital staff trio is made up of Michael Countryman (Mary Stuart), Greg Keller (Manhattan Theatre Club’s Cradle and All), and Carra Patterson (Shakespeare in the Park’s Measure for Measure).  All three work well together to show the different dynamics between doctors, interns, nurses, and patients.  Patterson stands out as Vivian’s main nurse, Susie Monahan.  With a warm gentle smile and a huge heart, Susie is able to see past Vivian’s rough exterior and allow her to open up.  These two actresses left not a dry eye in the theatre, when the time comes for Vivian to explore the themes of death over an ice pop.  Also delivering a lovely performance is Suzanne Bertish (The Moliére Comedies) as Vivian’s college professor, E. M. Ashford.  While this role can be played very cold, Bertish transformed the character into an extremely demanding professor whose main lesson is to not let work control your life.  While Vivian should have paid closer attention, Ashford is there as her support system till the very end.  This small ensemble works really closely to create a story that is timeless, powerful, and unforgettable.

Relying on highly talented actors, this production of Wit took a simplistic approach to the design that paid off big time.  Featuring four posts and a wall, the scenic design by Santo Loquasto (Relatively Speaking) truly allowed for the text of the piece to shine.  Not allowing for the audience to get distracted by flashy sets, Loquasto paints the perfect backdrop for the piece’s many different locations.  Lighting this set with clever, yet simple lighting is designer Peter Kaczorowski (The Road to Mecca).  With nice lighting that always appeared to have Vivian as the brightest spot on stage, Kaczorowski created the concept of a lecture within a play wonderfully.  The whole package was topped with a bow that has Lynne Meadow’s (Collected Stories) name on it.  Directing a piece like Wit can be quite a bit of a challenge; however, Meadow’s fine direction gave the piece the right tempo and grace that it needed.  All of these elements brought justice to the words of playwright Margret Edson who crafted the script in a moving and profoundly funny way.

While it may have been many years in the works, Wit finally leaps onto the Broadway stage with top notch acting and beautiful design and direction.  In a time when cancer research is at an all time high around the world, Wit proves to touch the lives of all who come in contact with this piece.  Cancer has touched the life of almost everyone nationwide - whether you know someone who has the disease or if you yourself have had/have the disease - and therefore, Wit has the power to touch the heart and soul of all who step foot into the Samuel J. Friedman Theatre.

Review By: Courtney Labossiere

Master Class @ Samuel J. Friedman Theatre

Maria Callas – the name alone brings chills to every opera fan, not to mention the voice that took the world by storm.  Callas has once again found her way back to the Broadway stage in Manhattan Theatre Club’s revival of Master Class.  Written by famed playwright Terrence McNally this stunning piece mixes facts with fiction while telling the incredible story of Maria Callas – this time played by the larger than life Tyne Daly.  This revival is funny, smart, elegant, passionate, and loaded with talent that will leave you speechless.

The famous Maria Callas had a very fast rise to fame and an even faster fall with a career that only lasted about ten years.  Master Class takes a look at what might have happened in the later years of Callas’ life as she was known to hold open master classes to pass down her knowledge of performance and vocal technique.  Along the way however, Callas cannot help but be sucked into her past where she lets the audience in on past events of her life – the struggles with being overweight, the divorce of her first husband Battista Meneghini, the wonders of her new love Aristotle Onassis, the abortion that ended the relationship, the loss of voice that ended the career, and the heart break of ending up alone.  Playwright Terrence McNally takes the audience on a journey that not only lets all who attend see the genius behind her voice but also her life’s journey on how she got to where she is.

Tyne Daly proves why she is considered one of the best actresses of this decade.  Known for both her work in film (Zoot Suit), television (Judging Amy), and stage (Rabbit Hole), Daly brings a whole new meaning to the word “diva” when taking on the role of Callas.  Daly commands the stage with every line she speaks and movement she makes – the audience cannot help but want to listen to every line that she says.  Virtually unrecognizable under the make-up and wig, Daly transforms into the opera superstar.  In a role that wings from humor to drama, she tackles it all with ease and sophistication.  One cannot help but feel like the other actors on stage with her are receiving a master class within Master Class – it is hard to imagine not learning from a woman who has mastered her craft in a way that so few others have been able to do.  These fellow players are Alexandra Silber (West End’s The Woman in White), Sierra Boggess (Disney’s The Little Mermaid), and Garrett Sorenson (national opera performer making his Broadway debut).  Silber gives a lovely performance as Sophie De Palma – a young performer intent on learning from one of the world’s best.  Silber has a lightness to her that is wonderful to watch.  She is so passionate and heartfelt that the audience has no choice but to fall in love with her character.  Boggess pulls out all of the stops with gorgeous opera and acting chops.  Playing Sharon Graham – a strong singer with a weak heart, Boggess portrays the exact opposite of what Callas would consider a “performer.”  Her work with Daly leaves the audience speechless as they battle what it truly means to be a world renowned performer.  The last of the three students is Anthony Candolino, played by Sorenson.  While only in the piece for a short time, Sorenson sends chills through the audience as he performs a piece that could turn opera-haters into opera-lovers.  This piece, driven by Daly, mixes music, drama, and comedy into one extremely compelling night at the theatre.

Behind all great successes stands the creative team – or “those that I seem to always forget about” as Callas might think.  Making his Broadway debut, director Stephen Wadsworth does a remarkable job giving life to this classic piece.  Wadsworth tackles long monologues and scenes with grace and perfect movement – never letting the piece drag along.  Creating wonderful images of Callas and her students, this is definitely a successful run for a Broadway newcomer.  Thomas Lynch (Tony nominee for Contact) brings his scenic design talents to the project creating a simple, yet detailed set.  With the simple interior of a rehearsal room, Lynch uses natural woods to create a back drop that is accented by golden stage lights hanging directly above the actors – thus creating one of the most elegant class rooms fit for an opera superstar.  Illuminating this design is the work of David Lander (Bengal Tiger at the Baghdad Zoo). While the piece tended to be a little too dark in some sections, the lighting overall was well done and done in a creative way – always having Callas lit just a little bit brighter than everyone else on stage.  These details in direction and design gave this piece even more power – making it the perfect summer revival.

“Never miss an opportunity to theatricalize” – these words spoken by Callas in Master Class sum up the entire production perfectly.  With grace and classiness, this wonderful play has come back to Broadway is a way that is hard to resist.  Now playing throughout the entire summer, one has no excuse not to go see Tyne Daly and the rest of this spellbinding cast.  It is the perfect master class on how real theatre should be!