The Mountaintop @ Bernard B. Jacobs Theatre

April 3, 1968.  Memphis, Tennessee. The Lorraine Motel – Room 306.  The date and setting for the new powerful drama that re-imagines the final night of Dr. Martin Luther King, Jr.’s life.  The Mountaintop is the spell binding and deeply emotional new piece by playwright Katori Hall that leaves the audience shocked, laughing, tearing up, and inspired.  Featuring the talents of Samuel L. Jackson and Angela Bassett, this piece of theatre features strong acting, tremendous writing, and stunning direction.  The Mountaintop is one of those plays that will have the audience leaving the theatre changed forever.

A few hours after delivering the famous “Mountaintop” speech, Dr. Martin Luther King, Jr. checked into room 306 at the Lorraine Motel.  The event that followed changed the face of the world forever – the civil rights movement took on a whole new front.  Many people have often wondered how one of the world’s greatest leaders lived his final hours.  The Mountaintop takes a look at these last few hours.  Opening with Dr. Martin Luther King, Jr. coming in from the harsh rain, this piece quickly takes off exploring the idea that MLK was an average man, too.  He had faced some of the same problems as the rest of the world – body pains, smelly feet, the need to smoke, the desire for a cup of coffee in order to pull an all-nighter, and much more.  It is not much later that MLK has his cup of coffee delivered by Camae, a maid who is currently working her first shift at the Lorraine Motel.  Before long, it becomes apparent that MLK does not want to be alone, and Camae is more than willing to share her opinion with the preacher.  Exploring the common themes of faith, death, life, and belonging, The Mountaintop takes a whole new look on these themes and the common perception of Dr. Martin Luther King, Jr.

It is too often that stars are brought to the Great White Way to sell seats, regardless of whether this star fits the bill; however, this is definitely not one of those times.  Most reviews coming out today, and in the future, will more than likely be praising Angela Bassett – and rightfully so; this review, unlike the majority, would like to start with Samuel L. Jackson, who delivers the performance of his life.  Portraying one of the most famous men in history, that many still worship and admire, is no easy feat.   Jackson, known for his smooth moves in such films as Iron Man 2, Snakes on a Plane, and Pulp Fiction, transforms into MLK – the way he moves, talks, and reacts.  Jackson took “the preacher” off of the high pedestal and made him a man.  A man who is smart.  A man who has flaws.  A man who has his faith.  A family man.  A transformation that truly took the audiences breath away.  What little breath the audience might have had left was taken up by Jackson’s leading lady, Angela Bassett of film’s What’s Love Got to Do with It and television’s ER.  The wise cracking, self-loving, instigator of a maid is given a heart and plenty of soul with Bassett behind the wheel.  Delivering one of the most passionate performances Broadway has seen in a long time, Bassett enters the scene full of passion and keeps the drive going for the entirety of the ninety minute run time.  Bassett makes this character of fiction seem so real that it is hard to imagine Dr. Martin Luther King, Jr.’s final hours existing without her.  When these two dynamites join forces, souls are left on the stage each and every performance creating one of the best theatrical events a theatre go-er could ask for.

Bringing this epic night to life was a creative team that worked diligently to make sure that every detail of that famous night was created perfectly.  Starting with the atmosphere, scenic designer David Gallo (Memphis, Xanadu) brought room 306 to the New York stage fabric by fabric and piece of furniture by piece of furniture.  Gallo actually visited the real Lorraine Motel in order to have Dr. Martin Luther King, Jr. fully realized for The Mountaintop.  Giving the characters a wardrobe right from the 1960s is costume designer Constanza Romero (Fences).  Dressing MLK in the classic blue suit and tie and Camae in a vibrant yellow maid outfit, Romero draws the line between the two worlds of the praised and the help.  Shedding some light on the scene is designer Brian MacDevitt (the upcoming Chinglish).  Exploring the dull lights of a 1960s motel room fused with the bustling life of the outside world that is about to be changed forever, MacDevitt creates a wonderful tone for this piece.  Handling the whole package with care is director Kenny Leon (A Raisin in the Sun).  With a piece that crosses the line and addresses such topics as religion and race using a national icon, Leon drives the piece with a loving hand giving it the flow and grace that it deserves.  Katori Hall’s words are crafted so diligently and tended to so well allowing The Mountaintop to become one of the next great classics.

Every once and a while a show comes along that makes you stop and think – The Mountaintop is that piece.  Smart, powerful, and deeply moving, this new production takes the theatre world by storm.  When Jackson and Basset come together to tell Katori Hall’s story, the audience cannot help but join Dr. Martin Luther King, Jr. on the mountaintop.



That Championship Season @ Bernard B. Jacobs Theatre

Let the basketball talk begin, booze flow, and secrets come out. The 1973 Pulitzer Prize, Drama Critics Circle, and Tony awards winner, That Championship Season (written by Jason Miller), has returned to Broadway at the Bernard B. Jacobs Theatre. With a stellar cast featuring the likes of Kiefer Sutherland and Brian Cox, this revival refuses to hold back, constantly throwing its message in the audience face. It is about winning – no matter what it takes. Unfortunately, this production with great performances and design falls just short of that game winning basket leaving the audience somewhat bewildered has to how exactly to relate to this somewhat dated piece.

That Championship Season tells the story of four middle aged men and their high-school basketball coach on the night of their yearly reunion. Each one of these men has something that they are desperately trying to hold on to in order to survive in a world that only accepts winners. George Sikowski (played by Jim Gaffigan) is the mayor of the town in which the reunion takes place. George, who has recently lost a child, is currently planning his campaign for re-election. Phil Romano (played by Chris Noth) is the typical two-timing business man who lives for money, cars, and married woman. Brothers Tom and James Daley (played respectively by Jason Patric and Kiefer Sutherland) are battling problems all their own. Tom is a raging alcoholic while James, a high school principle, is simply fighting to be noticed. The last of these men is Coach (played by Brian Cox), fresh off a forced retirement, is desperately trying to bring his team back together to have yet another championship on his hands – this time the election of George. As the night trucks on, more and more secrets begin to come out as the liquor slowly begins to disappear.

This starry ensemble does not fail to disappoint. All five actors give extremely powerful and heartfelt performances. Jim Gaffigan (stand-up comedian of the films Going the Distance and It’s Kind of a Funny Story) as George gives a hilarious and moving performance in his Broadway debut. In a role that goes from funny to dramatic faster than one can imagine, Gaffigan finds the perfect flow and tackles this role with ease and grace. It is very possible that this Broadway debut will earn Gaffigan a Tony Award nomination. Chris Noth (known for his work on the small screen in Sex and the City and The Good Wife) is perfect as the back stabbing business man Phil. Looking out for only himself by sleeping with friends’ wives and throwing friends’ under the bus, Phil is not an easy character to like; however, Noth found the sympatric side of this character. At one point in the production, Noth’s character breaks into full tears leaving the audience feeling sorry for this typical business man. Jason Patric (seen on Broadway in Cat on a Hot Tin Roof, he is also son to That Championship Season’s playwright) has Tom and Kiefer Sutherland (known for his many years on the hit television show 24) as James portray brothers that are night and day. Patric plays the alcoholic brother that, as usual, is the only one at the reunion who knows how to speak the truth. His performance is absolutely wonderful – going against the grain to portray the typical drunk. Sutherland does not hold back as the brother who just for once wants things to go his way. His performance was strong and very emotional; he had the audience rooting for him from line one and crushed when he was defeated on the end line. The cast is rounded out perfectly by Brian Cox (known for his work in such films as Braveheart and Red) as the desperate Coach. Cox takes the audience on a roller coaster of different emotions from sympathy to disgust and right back to sympathy. It is a performance that is truly not to be missed – especially when backed by those four other truly talented men.

That Championship Season takes shape technically with stunning designs from some Broadway greats. The play takes shape with a gorgeous scenic design from Michael Yeargan (Tony Award winner for designs for The Light in the Piazza and South Pacific). The 1970s are fully realized in the perfect stylized living room complete with one the first television sets and a rattling radiator. This set was lit with a great lighting design by Peter Kaczorowski (represent on Broadway right now with designs for Driving Miss Daisy and Anything Goes). The lights were placed with care to light every old time championship photo and stained glass window. The foul comes in the directing of this revival. Gregory Mosher (seen last season on Broadway with A View From the Bridge) left his cast a bit too typical – with constant up and down to create different levels and awkward blocking. Unfortunately, this one and only technical flaw causes some distress and interrupts this classic game.

That Championship Season storms back onto Broadway with many strong points – a great cast and wonderful design elements. While the play might be outdated, the performances are soon to not be forgotten. This is truly an actor’s championship season!

Review By: James Russo & Ryan Oliveti

 

   

Bloody Bloody Andrew Jackson @ Bernard B. Jacobs Theatre

Move over traditional musical, indie rock is here to stay on Broadway. What RENT did for the village, Spring Awakening did for raging hormones, and Next to Normal did for a reversed Oedipus complex; Bloody Bloody Andrew Jackson takes the typical history lesson by the collar, and gives a big F.U. to political correctness, stuffy explanations, and pompous “just-the-facts” attitude. It is set ablaze with a powerful score, an electrifying cast, and a production that captures the ferocity and complexity that was our seventh president – Andrew Jackson.

Even with an unusually quiet audience for such a powerhouse of a musical, the energy of the entire company – band included – creamed the scene with power and passion with not just the book, but the sheer subject matter. Touchy subjects – such as mass genocide and the infamous Trail of Tears – were approached with pristine wit and tenderness, creating an unsettling and yet spot on discourse within the audience members. The cast and crew nailed the feel good and thoughtful musical with a balance of ease that made it appear effortless.

Alex Timbers and Michael Friedman have created, what one audience member jokingly remarked, “The No-fear-Shakespeare for the history books, but done right!” Their work was refreshing among the other dime a dozen revivals and movie-made-musicals that seem to be creeping into the Big White Way. Bloody Bloody Andrew Jackson is the little patch of underground utopia that restores faith for the modern musical.

Benjamin Walker is a riot as Jackson, with his keen sense to capture the unruliness and internal struggle of a brilliantly mad man, he does not fall short of kicking ass and taking numbers as well as making you weep. On a scale of one to ten, he blazed through at a constant fifty, light up the stage with his voice, timing, and clarity of his role. Also, Maria Elena Ramirez’s role as Rachael (Jackson’s wife), was stunning. In her most poignant number “The Great Compromise,” the little woman gives her character a sharp turn from the comedy into tragedy with such grace and precision, giving further definition to her character. Bloody Bloody Andrew Jackson’s stellar cast is rounded out by the brilliant ensemble. Each member does a great job of portraying many different characters and even picking up an instrument or two to play with the band!

With the Bernard B. Jacob Theatre looking more like the interior of a bar – with the décor landing somewhere between an old fashioned tavern and an AC/DC concert – the generation gap of both era and genre made for a phenomenal combination. As stunning as the costumes were, continuing to stick to a westernized feel of today’s multi-layered look, there were several unnecessary costume changes among the chorus members; which did nothing to enhance the plot or scene, but more so to inflate the ego of the fashion gods. The lighting aspect was a stunning visual orgasm, as color changing neon tubes protruded from the stage, rippling on and off between numbers for the hard rock effect; while hundreds upon thousands of strings of lights glowed overhead – and over every space available for that matter – to create that old time feel of Southern comforts for the more somber numbers. Justin Townsend, lighting designer for this production, better take one hell of a bow for pulling off one magnanimous spectacle.

With the tired, but true saying, “history always repeats itself,” the message in this production is clear, keeping its audience members interested in more ways than one. Bloody Bloody Andrew Jackson is a must see, if not for the reasons above, then for at least a really crazy guy, in some really tight jeans.

Review By: James Russo & Sarah Hogan-DePaul