Arcadia @ Ethel Barrymore Theatre

Arcadia. When looked up in the dictionary, it is said to mean “a garden area of bliss” or “a simple oasis.” Both of these definitions are ironic because Arcadia, the revival currently playing at the Ethel Barrymore Theatre, is not simple or set in a blissful garden. Instead, playwright Tom Stoppard creates a world in which the answers are never simple and the garden is always the route of a debate. This well crafted piece requires much thinking, great care to the small details, and quite an open mind. Arcadia is a wonderful piece of theatre that, unfortunately, is simply not designed for everyone’s enjoyment.

With themes of math, science, intelligence, and love, Arcadia tells the story of what happens in the same room over 100 years apart. Set in both 1809 and the present day, the audience watches as mysteries are uncovered, theories are proven, and bonds are stretched to the max. In 1809, a young genius Thomasina (played by Bel Powley) is in the center of a wonderfully crazed group of characters. She learns all of her knowledge from her tutor Septimus (played by Tom Riley), who is desperately trying to please the entire household by hiding from the poet whose work he negatively critiqued, Mr. Ezra Chater (played by David Turner), and by making love to the mother of Thomasina, Lady Croom (played by Margaret Colin). As the days and years pass, a garden re-model begins to take form, a duel is issued, and love is turned up-side-down – all leading to a tragic death. Meanwhile, in the present, Hannah Jarvis (played by Lia Williams), a published author, and Bernard Nightingale (played by Billy Crudup), a university professor, go head to head trying to solve the unanswered questions of the past. With the help of Valentine Coverly (played by Raul Esparza), a post-graduate student currently doing research at the estate, Hanna and Bernard begin to slow uncover the truth about the exact happenings of the past.  Arcadia brings both the past and present together to prove that everything happens for a reason – what that reason is, is anyone’s guess.

An ensemble of 12 cast members brings the time altering world of Arcadia to life each night. Starting in the past, Bel Powley, in her Broadway debut, delivers a stunning performance – full of heart, intrigue, and compassion. She takes this beautifully written character and breathes life into it making Thomasina funny, loveable, smart. Tom Riley, also making his debut, delivers a wonderful performance that often left the audience wanting more. His youthful energy mixed with his charming sophistication made him the perfect tutor, lady’s man, and quick thinker that Septimus truly is. The rest of the past clan featured Edward James Hyland as Jellaby, David Turner as Ezra Chater, Byron Jennings as Richard Noakes, Margret Colin as Lady Croom, and Glenn Fleshler as Captain Brice – all of whom give delightful performances. In the present, Lia Williams (seen on Broadway last in Skylight) portrays the passionate author Hannah Jarvis. Williams gives this character the much needed spunk that is required, delivering a funny yet moving performance. The true star of the show is Billy Crudup (who comes with a long list of Broadway credits, including the original production of Arcadia, and movie spots, including Eat Pray Love and Watchmen) as the high spirited professor Bernard Nightingale. Delivering a performance sure to capture the eyes of Tony Award voters, Crudup is an absolute power house. His high energy performance brings life into the roundabout search for truth. Completing the ensemble was Grace Gummer, Raul Esparza, and Noah Robbins as the Coverly siblings. This large ensemble filled the theatre with energy and passion that brought Stoppard’s world of Arcadia to life.

The time bending world of Arcadia was designed with elegance by the stunning work of the production team. Designers Hildegard Bechtler (designs include Broadway’s Hedda Gabler and The Seagull) on set, Gregory Gale (designs include Broadway’s Rock of Ages and Urinetown) on costumes, and Donald Holder (designs include Broadway’s Spider-Man and The Boy from Oz) on lighting worked together to bring the picture perfect plan for this new revival. The stunning room of Arcadia, complete with a time altering table, is lit with wonderful ease, with clear time change lighting, and filled with period pieces, that easily allow the audience to determine the difference in years. The one design element that did not meet all expectations was the sound design by David Van Tieghem (designs include Broadway’s Doubt and A Behanding in Spokane). With loud sound effects and less than capable microphones, the extremely complex plot was often hard to hear leaving the audience confused and bewildered; however, the stunning direction of David Leveaux (past Broadway productions include Nine and Jumpers) helped clear up many of the loose ends. While there moments that dragged and could have been sped up, these were over ruled by the wonderful pictures that Leveaux painted upon the stage. Masterfully weaving in and out of different time zones, Arcadia put forth a stunning directorial performance that is sure to get Leveaux yet another Tony Award Nomination.

This current limited run revival of Arcadia comes complete with great acting, beautiful design, genius directing, and an amazing plot. While audiences might be over whelmed by the complexity of this play, there is no true reason to shy away from what could be a great night out at the theatre. When going to Arcadia, be prepared to feel, laugh, and above all think.

Review By: James Russo & Ryan Oliveti

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

 

   

Driving Miss Daisy @ John Golden Theatre

Taking to the streets of Atlanta, Georgia in the 1950s and 1960s, Driving Miss Daisy tackles the powerful topics of civil rights, parenthood, and friendship. Currently extended through April 9th at the Golden Theatre, Driving Miss Daisy tells a heartwarming tale that boasts movie and theatre greats James Earl Jones, Vanessa Redgrave, and Boyd Gaines. However, even with outstanding performances by these great actors, this is one car that seems to have a flat tire. Unfortunately, Driving Miss Daisy does not ride into one of the great pieces of American theatre.

Driving Miss Daisy tells the story of Daisy Werthan (played by Vanessa Redgrave), an elderly Jewish woman who recently hit the age where it is no longer safe for her to drive her car. Against her will, Boolie Werthan, her son (played by Boyd Gaines), takes it upon himself to hire her a driver. Boolie hires a down on his luck African American man named Hoke Coleburn (played by James Earl Jones). As the seasons and year change, Daisy and Hoke slowly become friends crossing the lines of segregation. As the relationship grows between these two unlikely friends, however, Daisy’s health ultimately begins to fade. This wonderful crafted script from Alfred Uhry (author of other works such as Parade and The Last Night of Ballyhoo) shows the true power of friendship – it knows no race, religion, or gender.

Outstanding performances shine each night as three of the “greatest” actors of our time bring Uhry’s words to life with style and grace. James Earl Jones (whose distinct voice is known for work in the Star Wars trilogy and The Lion King) plays the witty driver to Daisy, Hoke Coleburn. Jones delivers a light hearted but powerful performance. He represents the true heartaches that faced African Americans during this time – segregation, prejudices, and discrimination. Jones captures these pains and brings them to life through this truly loveable character. Vanessa Redgrave (most recently seen in the film Letters to Juliet) stars as the uptight, but ultimately changed Daisy Werthan. While Redgrave started out a little too stiff and stern, she quickly loosened up and filled the role perfectly. She represents the voice of change in an uptight society. Redgrave shows the struggles of doing what is right versus sticking to the status quo. Playing the part of Daisy’s son, Boolie Werthan, is Boyd Gains (multiple Tony Award winner for roles in such plays as Gypsy and Contact). Gains shines in this role bringing the 1950s and 1960s working business man to life. He brings humor into his role while still showing the ultimate struggle of keeping a business up and running in times of great change and controversy. These three dynamic actors come together to deliver a spectacular performance.

It is in the technical direction that Driving Miss Daisy hits a speed bump. Director David Esbjornson (who previously directed The Goat, or Who Is Sylvia?) fails to bring the proper style this dramatic piece truly needs. With long awkward pauses that interrupt scenes, actors that are sometimes out of focus, and sloppy scene changes, Esbjornson does not give this play the justice that it truly deserves. Also, poorly designed projections by Wendall K. Harrington (whose credits include Grey Gardens and Ragtime) also made the production awkward to watch. These projections were usually large and extremely hard to see, taking focus away from the actors while the audience struggled to see what was on the back wall. However, these weaknesses in the technical direction were matched with two stunning designs in the set and lighting. The scenic design by John Lee Beatty (who is currently represented on Broadway with Chicago) was minimalistic and original. With only a staircase, a stove, some chairs, and a desk, the locations of each scene left some room for imagination. It truly added a unique element to this production. The lighting design by Peter Kaczorowski (seen on Broadway with Curtains and The Producers) is a truly stunning site. With more lights ththat shows the heart, joy, pain, and laughter of Driving Miss Daisy. These two elements truly save that technical side of this production.

Bringing Driving Miss Daisy to the first time is a remarkable cast, a slightly flawed technical crew, but a truly brilliant script. These elements combine to form an alright night at the theatre. While it may not be the best thing currently playing on Broadway, buying a ticket to see James Earl Jones, Vanessa Redgrave, and Boyd Gains would not be the worst an most musicals, Kaczorowski uses every single one effortlessly to deliver a design decision a person could make.

Review By: James Russo & Ryan Oliveti

INTERVIEW: Montego Glover from Memphis

1) What or who initially inspired you to be an actress?

*Acting classes when I was 12 twelve years old.

2) What is the best advice you have ever received and that you would pass along to other actors trying to make it into the business?   

*Go to college and get your acting degree.  Tell the truth onstage and off.  Keep your word.  Handle your money.

3) How difficult was it for you to get into the character of Felicia? Do you find that you two have more similarities than differences or the other way around?

*Not hard at all. Felicia and I are both Tennesseans, young, African Americans, we’ve both experienced falling in love with someone, have a love of music, and are aspiring artists.  There’s only one big difference, Felicia and I are women from different times in the history of this country, so the experience of overt and oppressive racism is what divides us.

4) How does this part compare to others that you have done in the past?

*Felicia Farrell is my first original role in a Broadway show.  That is an enormous gift and a real privilege.  Other than that it’s the same as any of the other heavy hitting roles I’ve played.  And I’ve played them.  They all require relentless attention to detail, athleticism, and an advanced skill set.

5) Is there a dream role that you want to play and if so what is that role?

*Felicia Farrell.  And I’d love to play her if MEMPHIS is made into a feature film.

6) Do you feel that your life has changed since this role? If so how?

*Six years of development on MEMPHIS allowed to me to grow as a woman and an artist so I’ve changed as the piece evolved, and that’s good.  Aside from that the biggest change is being recognized by people because they’re familiar with the show.

7) What was your first reaction when you won both the Drama Desk Award and the Outer Critics Circle?

*Complete and utter surprise.

8) What was it like working with the cast?

*Awesome.  Everyone is so ridiculously talented, giving, supportive, and crazily funny…every single one of them.

9) Being with Memphis since the beginning, you got to experience all of the changes that the production went through. Were there any changes that you wish they kept? Where there any that you were happy they left out?

*Every change we’ve made to the show has been for the best.  All the changes have helped us do the best storytelling through music, dance, and text that we can.  As for anything I wish we’d kept, the soloist in the song “Everybody Wants to Be Black On Saturday Night”.

10) What are your plans after Memphis? Do you plan on staying in this role till the bitter end or has temptation of creating a new character been calling you?

*There is no such thing as a bitter end for me when it comes to MEMPHIS.  I love this show and my role, and I plan to work on them as long as I respond to them as an artist.  I’ve had such an amazing journey with MEMPHIS, I know I’ll leave the show when I’m ready.  Till then enjoy, enjoy, enjoy! 

11) When we saw Memphis, Huey was played by Bryan Fenkart. How is working with Bryan compared to working with Chad? Do you find yourself approaching Felicia differently depending on which leading man you are working with that night? What is the difference in energy/give-and-take between the two?

*Chad and Brian work distinctly differently as actors, in addition to being very different physical types, energies, and presences onstage.  My Felicia isn’t different with each of them, just adjusted in how she receives them and interprets their information

12) Is there any person that you took your inspiration from for the role of Felicia? If so than who and why?

*There was no person who inspired Felicia Farrell for me.  I really dug into the text for Felicia.  And because I’d been with the show from the beginning I got to assert certain qualities based on what I found in the text, the time period, the location, the music, and me, my own experiences.

13) Is performing six days a week every tiring physically or emotionally? How do you train yourself as an actor to keep up with the pace?

*Yes, it is demanding emotionally and physically, but a degree in Music Theatre is a big help!  I’m in voice lessons regularly, the rest is treating my body well, and ordering the other projects in my days so that MEMPHIS has my full attention once I walk through the stage door every night.

Memphis @ Sam S. Shubert Theatre

Winner of Best Musical for 2010, Memphis turns the clock back to rock and roll in the 1950’s down in the Deep South where the lines were dangerously defined between white, black and the music that changed the world. Now playing at the Shubert Theater, this astonishing musical reminds us all of a time where equality was nothing more than a nice word given to some, but not all, and how music, as trite as it may sound, united us all.

The story revolves Huey Calhoun, a young while man who stumbles into an all black club when he hears the voice of an aspiring singer, Felicia Farrell. From there Calhoun, who was played by Bryan Fenkart at this particular performance, declares that he will get Felicia, Montego Glover, on the radio – an all white radio station. In doing so, Calhoun boosts his career as the first white male to launch “colored” music on the radio, as well as getting closer to Felicia romantically. As the two of them heat up, so do the other citizens of Memphis – those demanding integration and those demanding segregation.

Hands down, the most electric and astonishing performance was that of the lovely Montego Glover (see on Broadway in The Color Purple). Her charismatic and endearing performance as the strong and steady Felicia Farrell, charms the audience as her prickly shell melts into a darling demeanor by the end of act one. And what a set of pipes! Glover’s emotional performance of “Colored Women” rattles the rafters with such ferocity and vigor, only for it to be contradicted by her sensitivity and docile performance of “Someday,” showing off how just a phenomenal force her voice truly is. Even with the role of Huey being played by Bryan Fenkart (making his Broadway debut), understudy to Chad Kimball, Fenkart did not fail to disappoint. His smooth-talking; all-American; boyish flair, lights up the stage, sending the audience into fits of laughter with his precise comedic timing and his “awe-shucks” nature that just melted his way into our hearts. These characteristics were also brought into every song, particularly “Memphis Lives in Me,” as Fenkart nails this blues ballad, doing justice to the title song. These two powerhouses were not the only ones who memorized that night. J. Bernard Calloway (also making his Broadway debut), as Delray, was superb with his soulful delivery in both his acting and singing performance. “She’s my Sister,” overflowed with soul and a force so dynamic it gave this reviewer chills. Another performance that was also just delightful was that of Cass Morgan (seen on Broadway in Mary Poppins and Ring of Fire) as the role of Mama. Morgan’s performance in “Change Don’t Come Easy,” was spot on as she balanced the humor with the social commentary, making for a memorable performance. She serves as the arc in play, showing the differences in economic class during this time period. The audience watches as Mamma goes from low class rags to high class dress and attitude. She shows the true economic status of Memphis in the 1950’s.

With the music and lyrics, by David Bryan (lead keyboard player of the group Bon Jovi) and Joe DiPietro (whose work includes The Toxic Avenger), alongside the chorography of Sergio Trujillo (a Tony Award winner for Jersey Boys), the ensemble shows what it takes to make jazz hot and the blues cool as they artfully command the audience through the good times and the bad. From sultry, sexy swinging moves in the club, to young and innocent mashed potato, each number did not fail to thrill the younger audience members and even create nostalgic moments for others. Speaking of artfully done, David Gallo’s (a Tony Award winner for The Drowsy Chaperon) designs for the set, with the help of Shawn Sagady’s (making his Broadway debut) tasteful touches of projections, jived you right into the heart of Memphis, circa 1950. The scenic design has just the right blend of minimalistic and realistic, as each set piece was transformed seamlessly into the next scene. A real treat in the projections was watching Calhoun’s TV show as if it were being shot “Dick Clark,” style. This fine crafting was enhanced with Howell Binkley’s (whose work was seen on Broadway in Avenue Q and In the Heights) great lighting design. With a mix of traditional Broadway lighting and concert writing, for certain scenes, this design really brightened up and added life and color to such a poor community. Also, Memphis was brought into full realization with the stunning costume design by Paul Tazewell (whose work has been seen on Broadway in Guys and Dolls and A Raisin in the Sun). The costumes captured the full spectrum of this time period – the contrasts in both race and class. Memphis was a technical joy to watch!

As the cast sings one last reprise of “Steal Your Rock ‘N’ Roll” to a standing ovation, as each of the audience members clapped in time with the beat – people from all different backgrounds and ethnicities clapping out the “rhythm of their souls.” A rhythm that united our country. A rhythm that is not to be missed.

Review By: James Russo & Sarah Hogan-DePaul