The Legend of Georgia McBride @ The Lucille Lortel Theatre

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

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

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

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

Review By: Paul Morin
Photo By: Sara Krulwich

Iow@ @ Playwrights Horizons/Peter Jay Sharp Theater

Jenny Schwartz and Todd Almond find a place to let loose at Playwrights Horizons this spring.  The story of Becca as she deals with her mother’s impromptu engagement, iOW@ is a theatrical soiree into the disjointed world of slam poetry.  With the pending nuptials, Becca is forced to move Iowa – and forced to leave everything she knows and loves.  At 14, that kind of change is world shaking, affecting everything we are and pulling the anchor of our lives out from under us. 
 

Jill Shackner who portrays Becca, connects brilliantly to an underlying storyline and flow that the writing does not offer.  Her acting breathes much needed life into the driving character of iOW@.  Another solid performance comes in Carolina Sanchez.  She delivers every character she has (from the best friend Amanda to a polygamist’s’ wife) with undeniable conviction and presence.  Kolette Tetlow as a young Becca, sets the stage with a solid presence and Annie McNamara steps into the stereotype Cheerleader with wonderful timing.  Lee Sellars is a versatile tour de force on stage as every male character needed.  He transfers from teacher to father to pony (yes pony) in the blink of an eye.  Karyn Quackenbush is a wonderfully crazy Sandy.  As Becca’s mother, although some of her run on monologues land flat, she owns the stage through her electric energy.

Accompanying the cast is the trio of musicians who make up the pit.  With J Oconer Navarro on the piano (also the musical director), Brian Ellingsen on Bass and Sarah Haines on Viola, Todd Almond’s music couldn’t sound more perfect.  Almond delivers thick and beautiful harmonies akin to a movie score and although most of the songs lack a melodic line, his choir-esc vocal arrangements are a delight to the ear.  Jenny Schwartz adds lyrics to the mix with a Philip Glass like style.  Her writing is poetic as it flows from idea to idea like a series of word associations.  Though Schwartz’s book and lyrics often leave the audience with no clear idea of where the story is, it does always stays true to the language of the verse.

The bare set by Dane Laffrey keeps the visual stimulus simple and plain, allowing time to focus on the language of the show.  Laffrey gets a chance to show the audience a small amount of his ability at the end of the show when we arrive in Iowa, leaving me wishing his talents had been used more throughout.  Arnulfo Maldonado’s costumes are an eclectic variety, complementing the feel of the show perfectly.  Though the physical movement of the show sometimes struggled, it seems clear that Ken Rus Schmoll laid the groundwork for strong character study with the actors, allowing them to give their best.

If you want to see great acting and hear beautiful harmonies, iOW@ is a good night out.  It plays now thru May 10th at the Playwrights Horizons.

Review By: Paul Morin
Photos By: Joan Marcus

Irreversible @ The Theater at the 14th St Y

Director Melanie Moyer and the Red Fern Theatre Company have taken on Jack Karp’s captivating Irreversible.  Running three weekends at The Theater at the 14th St Y, it is a deep look into the decisions we make and more importantly, must live with.

Robert Oppenheimer (Jordan Kaplan) and his brother Frank (Josh Doucette) are desperately racing to beat the Nazis to the world’s first nuclear bomb in the throes of World War II, but when they finally see the power of their new weapon, the two men are torn apart in a battle between conscience and ambition.

Being a story based in science, Irreversible could potentially make for a tedious book.  Luckily for us, Karp keeps the plot in motion with wit, humor, drama, love and sex.  The dialogue is interesting and very human.  The most inventive aspect of Karp’s writing is displayed in the form of multiple conversations all centered around the lead character, Robert, in different locations and points of time that intertwine to present a fluid through line.  Josh Doucette delivers Frank with honesty and completely in the moment - keeping the audience engaged.  Other noteworthy performances are Amelia Mathews as Jean and Dan Odell as Niels Bohr.

The scenic design by Andrew Mannion is a creative blend of indoor realism and outdoor expressionism.  A simple desk, chalkboard and sofa are dispersed throughout the three quarter style staging with a large bull’s-eye target on the floor. In the back, there is the hint of dessert hills. Scene transitions are done effortlessly by draping linen over the sofa, turning a table around or removing entire pieces.  Having all the stage elements consistently present kept the audience imagination present as well.

Lighting Designer Marie Yokoyama also adds her spark to this production.  Right from the start the audience is blinded, first by darkness then by light.  The twinkling of stars gives a welcome air of romance.  Yokoyama also utilizes some slow fades for dramatic emphasis and washes of red-orange to enhance the reality of a nuclear bomb.

Also adding his mark on this production is sound designer Andy Evan Cohen. From the moment you enter the theatre you are welcomed by the romantic sounds of the 1940’s. Once in the throes of Irreversible, Cohen uses a deep rumble and low waving tones to compliment the “nuclear” aspect while heightening the drama on stage.

For a thoughtful look at the start of the arms race we still feel today, go see Jack Karp’s Irreversible, playing at The Theater at the 14th St Y weekends until March 29th.

Review By: Paul Morin
Photos By: Red Fern

An Octoroon @ The Polonsky Shakespeare Center @ The Theatre for New Audience

Rarely have I seen theater perfected in the way Sarah Benson delivers Branden Jacob-Jenkins adaptation of An Octoroon.  The Theater for a New Audience has given this returning melodrama a new home and has given you a second chance to not miss this masterpiece.  Jacob-Jenkins hands us Dion Boucicault’s original story in a lively modernized rendition while keeping the classic themes and voice intact.

An Octoroon takes place at Terrebonne, a southern cotton plantation.  Here we find George, heir to the estate, newly arrived from Paris.  He finds the plantation in financial ruin but rich with beauty.  Foremost in beauty for him is Zoe, the Octoroon.  Zoe and George fall quickly in love, but there love is threatened by the evil overseer M’Closky.

Both George and M’Closky are given life by Austin Smith.  Smith is a dynamo.  His melodramatic portrayal of each character is hilarious and yet truly believable.  In addition to these two characters, he also portrays the plays adaptor, Branden Jacob-Jenkins.  His remarkable delivery made me question more than once the honesty of the playbill in my hand.

Haynes Thigpen and Ian Lassiter are an amazing pair.  The two put on numerous faces in this production and with each, bring the stage to life with their wit, chemistry, whimsy and charisma.  Another amazing pair is hilariously handed us in the duo of Maechi Aharanwa (Minnie) and Pascale Armand (Dido).  These two sass their way into our funny bone while they helping to ease some of the difficult content our way.  This eases the heavier drama of Amber Gray (Zoe), who wears her heart on her sleeve and tears at all with her anguish.

The rounding out of the melodrama for the evening is wrapped up in a bow in the form of Mary Wiseman as Dora.  Wiseman introduces herself with at least eight put on caricatures in half as many minutes.  She is hilarious and owns the stage.

The mono-chromatic set by Mimi Lien is a perfect setting for the silly and soulful drama that director Sarah Benson sets up, leaving room for surprises at all corners.  Lester St Louis adds all the color the set needs with his cello off to the side and in case some real color is needed, Wade LaBoissonniere’s costumes are a delightful spectacle.

This is your second chance to see An Octoroon through the eyes of playwright Branden Jacob-Jenkins.  It is funny, witty and thoughtful, and it would be to your detriment if you miss it.

Review By: Paul Morin
Photos By: Gerry Goldstien

Tamburlaine, Parts I and II @ The Polonsky Shakespeare Center @ The Theatre for New Audience

Theater for a New Audience delivers a bloody spectacle in Christopher Marlows’ Tamberlain, parts I and II.  Playing at the Polonsky Shakespeare Center through December 21st, the show brings a different kind of red to the holiday season.

Tamberlaine is the story of a Scythian shepherd who rises to ever increasing influence through conquest and bloodshed.  It is a tale of the insatiable lust and savagery of humanity.  Director Michael Boyd holds nothing back in his desire to show us all the sins of man and more.

Boyd’s direction allows for a great amount of freedom from the actors.  Often, this can lead to some discrepancy between modern and classic styles.  This carries into set and props, placing a wooden classic chair for the past queen while giving the soon to be new queen a new, modern chair.  He does, however, grant his actors the chance to shine at times and keeps the story moving forward with seamless scene changes (aside from the much needed 30 minute intermission to tidy up the blood)

Leading the cast is John Douglas Thompson in the title role of Tamberlaine.  His presence on stage led the action with the same authority his character leads the story.  Paul Lazar (Mycetes, Soldan of Egypt, Almeda the Jailor) endears himself to the audience early on with his jester like attitude, which he carries with him throughout the piece.  In contrast is Steven Skybell (Meander), who’s clever timing adds a hint of comedy early on.  A wonderful performance is given by Chukwudi Iwuji (Bajazeth/King of Trebizon).  His pomp and conceit as the vain king are wonderfully delivered to the end.  The rest of this ensemble cast, totaling 19, do a splendid job of filling in the many roles called for in Marlow’s epic work.

Worth special note is Arthur Solari on percussion.  His performance in the one man pit is entertaining and extremely well thought out and balanced, adding atmosphere and background for most scenes in an unobtrusive but pervasive way.

This piece may not be a date-night worthy event, but if you enjoy classic theater told with a small amount of nonchalance and a large amount of gore, this is the show for you.

Review By: Paul Morin
Photos By: Sara Krulwich

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

You Can’t Take It With You @ The Longacre Theatre

You Can’t Take It With You, the classic Hart and Kaufman play, returns to Broadway this season after a 31-year hiatus with a bang, literally.  This timeless tale of love and happiness delights as it dazzles, with no shortage of imaginative personalities to entertain.  The fireworks onstage match the performances in brilliance.

The story centers around one family in New York City circa June 1936, whose way of enjoying their life pushes the boundaries of what others would consider normal.  As outsiders begin to encroach on the idiosyncrasies the family enjoys, conflicts inevitably ensue.  The first and last come in the form of government intervention into their way or being; while the central conflict focuses on the love between Alice and Tony.  Alice (Rose Byrne) is the “normal” member of the eccentric family where Tony (Fran Kranz) is the son of a Wall Street business man.  As the lovers try to force their two families together, their love is put to the test.  As they must, the lovers triumph in the end with the help of their families.  Grandpa, played by James Earl Jones, finishes his dinner prayer and the show with the epitaph that the show wishes to give: “We’ve all got our health and as far as anything else is concerned, we’ll leave it up to You.”

Scott Ellis delivers a free flowing chaos on stage that is as varied as the personalities that Hart and Kaufman provided.  The comfort that the family has in their house puts the audience at ease immediately, allowing the endearment of the family in all their quirky glory.  This comfort is aided in no small part by the beautifully intricate set design of David Rockwell, as well as the lighting by Donald Holder.

As an ensemble, the cast is a force.  Annaleigh Ashford as Essie steals the show over and over again.  Ashford’s caricature of Essie is hilarious and endearing.  Kristine Nielsen, playing Penelope Sycamore, delivers unerring comedic timing with every facial expression and line.  Reg Rogers as Boris Kolenkhov takes the wonderfully ridiculous to new heights of hilarity.  Supporting the action are Johanna Day, Julie Halston and Elizabeth Ashley as Mrs Kirby, Gay Wellington and Olga respectively.  Each brings a character full of verve and laughter, easily demanding the audience’s attention.

All in all, this is a performance by the entire ensemble that will leave you laughing all the way home; a great show that more than lives up to its great script.

Review By: Paul Morin
Photos By: Sara Krulwich
CrediSara Krulwich

Bedbugs! The Musical @ The ArcLight Theater

What happens when a girl with harsh chemicals meets her hated foe the bedbug?  Bedbugs!!! the musical of course!  This tale of love and world domination is brought to you by the writing duo of Paul Leschen (Music) and Fred Sauter (Book & Lyrics).  Told in an ’80 rock style, this sci-fi musical is a wonderful submersion into the campy movies of the time.  Leschen’s music is well crafted and entertaining, perfectly paired with the wit and satire of Sauter’s lyrics, when they can be clearly heard through the muddy sound.  Coming in at 2 hours and 15 minutes (with a 15 minute intermission), the book had some wonderful moments but might have been better served in a shorter timeframe.

The cast lent an extraordinary talent to this production.  Leading the way is Grace McLean (Carly).  McLean commands the stage with a hard edged rock sound.  Brian Charles Rooney (Dionne Salon) soars in his role as the parody of Canadian pop legend Celine Dion.  Rooney plays the role with casual ease and owns the audience the way Dionne owns her fans.  Equally excellent is Chris Hall (Cimex).  Hall could revival Tim Curry’s legendary Dr. Frank’N’Furter with each of his rock anthems.  Tracey Conyer Lee (Belinda, Consuela, Bedbug) catches the eye whenever she is on stage, drawing your attention through sheer force of character.  Rounding out the show are Nicholas Park (Burt), Danny Bolero (Dexter/Menachem/Bedbug), Gretchen Wylder (Mother/Joan/Diner Lady/Bedbug), Barry Shafrin (Mason/Bedbug) and ensemble members Courtney Bassett and Colin Scott Cahill.

Robert Bartley’s direction and choreography were exactly what Bedbugs!!! needed.  Bartley uses the space to its fullest and truly draws the audience into the fray.  Adam Demerath lends us a perfect environment for the filthy, soon to be apocalyptic New York City and Kirk Fitzgerald adds the ideal accents in lighting.  The bedbugs themselves find glorious life through the costumes by Philip Heckman.  Heckman makes each bug, and the rest of the characters, unique and a visual delight.

All in all, if you enjoy campy sci-fi and somebody you know enjoys rock musical, team up and go see Bedbugs!!! together at The ArcLight Theater.

Review By: Paul Morin
Photos By: Rex Bonomell

King Lear @ The Delacorte Theatre

The Public Theater has revisited William Shakespeare’s currently popular drama King Lear this summer with all the glorious tragedy the sad ruler deserves.  And they have done the Bard proud.

The staging at the Delacorte by director Daniel Sullivan lends itself beautiful and smoothly to the space and the piece, transporting us back to the days of not only the great King himself, but the old common English theater as well.  Accessible and sarcastically comical, the lens through which Sullivan allows us to glimpse Lear hoists the tragedy on us in a mercurial swing of moods not unlike those of the mad and foolish that are portrayed.  An awe inspiring vision, softening us just enough to allow the depth of the loss and pain to dig into our skin like loose soil; where it can grow and flourish, mirrored in our modern day.

As aid to the work, there are solid and insightful portrayals throughout the cast.  John Lithgow is a strong and versatile Lear, leading the way in his descent into madness.  He humanizes the epic King, leaving no wonder to the cause and purpose of his spiraling transformation.  Eric Sheffer Stevens' delivery of Edmund is second to none.  His casual wit and charisma endears him to the audience even as his actions horrify.  Stevens shines in this role, owning the stage. He gives us an Edmund that cannot be turned away from the moment he is left alone with his audience.  Other notable contributions come in the dynamic delivery of Steven Boyer as the fool, a pleasing balance of laughter and insight.  Clarke Peters as the Earl of Gloucester gives a well-grounded performance, a wonderful support in his paralleling tragedy with Lear.  Edgar, played by Chukwudi Iwuji, is free and vulnerable with nothing standing between him and his viewers.

Somewhat disappointing were the three sisters.  Annette Bening (Goneril) seemed uncomfortable with the language.  Jessica Hecht (Regan), though she elicited some laughs, was often ludicrous with her more serious moments.  Neither woman looked comfortable with their space on the stage.  Jessica Collins as Cordelia allowed herself to be immediately emotional available for the audience, but left little room for growth.

The scenic design of John Lee Beatty and costumes by Susan Hilferty are rustically elegant.  The use of drummed metal sheets, as well as the additional music completes the simple yet perfectly rendered environment.

King Lear, given life at The Public Theater, is an ideal night of theater for both those well versed in or new to Shakespeare, giving all something to take away.  Running through August 17th, this limited engagement should not be missed.

Review By: Paul Morin

Photos By: Joan Marcus

The Lion @ New York City Center Stage II

Sometimes the best stories are the bitter-sweet memories we offer as lessons for others, no matter the cost in the telling. 

The Lion, both honestly written and performed by Benjamin Scheuer, is among that precious group.  A story of growing up, physically and emotionally, of loss and of finding yourself, of seeing the world in all its shades of white and black, The Lion delivers an insightful monologue through its story and music.

In the beginning Scheuer approaches the stage very comfortable and casual. So casual that you may find yourself wondering if he harbors the ability to be as emotionally vulnerable as his script allows. However, as each story and each song unfolds so does Ben. Layer by layer Scheuer welcomes us deeper into some very personal and intimate details of his life.  By the end you will feel that you know him, that you were not at a show- but chatting with a close friend as he plunked around on his guitar while telling you secrets. This casualness is the beauty of Scheuer’s relationship with the audience, a refreshing breath of comfortable honesty rather than a dramatized spectacle.

Scheuer’s music, be it folk or rock, gets right to the core of his life, engaging us along.  Though sometimes simple in lyric and tune, Scheuer delivers his song with heart and genuine self, making it akin to a full orchestra of sound and pain and laughter and tears. This style of musicianship leaves audience members questioning if he has other recorded music out there to get (which he does of course).  

He artfully travels the stage, making use of his veritable army of guitars, as he travels through his own life.  The scenic design, by Neil Patel, was a perfectly un-intrusive studio space.  The apartment bore the precise detail to make it seem livable and it’s curved wall opened the focus for the three sided audience.  The walls were colored in just right to accent the simple but elegantly effective  lighting by Ben Stanton. Scheuer ’s pace and movement lent to an excellent flow to the short piece, a testament to Sean Daniels.

The Lion runs a little over an hour with no intermission, playing now through July 13th at MTC Stage II at the New York City Center.  The Lion is a must see thought-provoking masterpiece…but bring tissues for this one!

Review By: Staci Morin & Paul Morin

Photo By: Matthew Murphy

When January Feels Like Summer @ The Ensemble Studio Theatre

The partnership of The Ensemble Studio Theater and Page 73 Productions starts this reviewer’s theater season off on just the right foot,.

“When January Feels Like Summer follows five diverse Central Harlem residents as they collide during one strangely warm winter, when a feeling of change hums in the air.  Though everyday encounters on the subway and in the corner bodegas a pair of teenagers becomes unexpected heroes, an immigrant accountant embraces transformation, and two lonely soles begin to stumble toward each other.”

When January Feels Like Summer is a wonderfully smart bit of writing by Cori Thomas.  Her characters are a perfect blend of ridiculous and believable, causing delight and heartache in the same breath.  It is no surprise with material such as this that the cast excels as well.  Maurice Williams (Devaun) and J Mallory McCree (Jeron) are hilarious together.  Their innocent ignorance allows them to deliver what could otherwise be offensive dialogue as comedy gold.  Dion Graham (Joe) plays a wonderfully mild mannered everyman, who quietly lends compassion and relateability to the audience.  Mahira Kakkar (Nirmala) subtly builds emotional confusion in her character, culminating in a truly crazed release.  Even among these brilliant performances, Debargo Sanyal (Ishan/Indira) rises skyward.  Sanyal’s portrayal was as moving as it was humorous, often at the same time.  His stylized character reactions leave you disarmed with laughter, lending greater strength to the vulnerability he has a moment later.  To not empathize with him is to be heartless.

In case there wasn’t enough delight in the cast and writing, the direction, set and lighting add even more to this ensemble work.  Jason Simm’s set is a wonderful use of the space; seamlessly transforming in seconds and giving the detail that even lifelong New Yorker’s will appreciate.  Add to that the flowing stage movement from director Daniella Topol, the simple precision of lighting by Austin R Smith and the great prop work by Andrew T Chandler and we are transported around the city with casual ease.

When January Feels Like Summer is a must see!  This stellar production will leave you awe struck.

Review by: Paul Morin
Photos by: Gerry Goodstien