This Is Our Youth @ The Cort Theatre

1982 was over 30 years ago, but the struggles and attitudes of teens and twenty-somethings haven’t changed that much, as seen in “This is Our Youth,” by Kenneth Lonergan. At times hysterical, at time philosophical, and always entertaining.

“This is Our Youth” tells the story of Warren Smith (Michael Cera) showing up at his friend Dennis’ (Kieran Culkin) Upper West Side apartment with a bag of money that he stole from his rich father after getting kicked out of his own house. What follows is a night of crazy antics, including Warren trying to romance Jessica (Tavi Gevinson). The male characters are both that odd combination of if you knew them in real life, you would probably hate them, but onstage they are likeable and interesting characters. Michael Cera is still solidly in his type of semi-dorky man-childs, but it is a type that he does extremely well. Warren seems very natural and realistic though, and not just a quirky stereotype. Kieran Culkin is riveting as Dennis, with a sharp intellect and a solid control on his physicality. He moves through various emotions with ease and can switch on a dime for great comedic effect. His performance is very reminiscent of Alan Cumming in the best way possible. Cera and Culkin’s relationship has easy banter and chemistry, which is probably honed by them working together before on the cult classic Scott Pilgrim vs. the World. Tavi Gevinson’s work is refreshingly real and honest, portraying the confusing thoughts and emotions of a young adult just trying to figure out what she wants in life.

Anna D. Shapiro superbly directed the show. The exact setting wasn’t apparent visually or tonally until one of the characters mentioned that Ronald Reagan was president. Nothing really specifically dates the show visually, besides the fact that Dennis’ apartment has a record player and a phone with a cord. But this is so understated and natural that the characters could have existed in today’s modern world or any other time period between the two. The themes of the show are never pounded into the audience’s head, but instead come out naturally through the story.

In reference to other production elements, the scenic design by Todd Rosenthal was astounding. I thought for half a second walking into the theater that they had knocked down the back wall and we were looking out onto a real New York apartment building. The lighting design by Brian MacDevitt and sound design by Rob Milburn and Michael Bodeen were subtle enhancements of the mood of the peace. Though specific kudos go out to the beautiful lighting sequence that transitioned Act One to Act Two. Costume design by Ann Roth was a bit generic, adding the universality of the time, though one outfit of Jessica’s character seemed a bit too modern for the era, but that could be explained away because the character studied fashion.

Overall “This is Our Youth” is a hilarious and meaningful production about what it means to be young and have everything, and yet not know what to do with your life. It shouldn’t be missed while playing at the Cort Theatre.

Review By: Chrissy Cody
Photos By: Sara Krulwich

Stalking The Bogeyman @ New World Stages Stage 5

How do you illustrate the life of a man haunted by a childhood horror?

You try.

Based on David Holthouse’s fearless telling of his own story, New World Stages’ Stalking the Bogeyman tried and succeeded. Adapted and Directed by Markus Potter, with additional writing by Shane Zeigler, Shane Stokes and Santino Fontana, Holthouse’s story was thoroughly rendered and had me glued to my seat in shock, horror and awe.

Scenic Designer David Goldstein, Lighting Designer Cory Pattak, and Sound Designer Erik T. Lawson were experts in accentuating the actors’ portrayal of Holthouse’s struggles. Goldstein worked tirelessly to create a stage that placed me in portions of Holthouse’s mind. Pattak was equally meticulous, subtly hinting at scene changes and bringing Goldstein’s details to the forefront.

Markus Potter, Associate Director Michael Rader and Production Stage Manager Anita Ross somehow mastered the chaotic nature of memory to keep the viewer constantly oriented and reminded that this story is very real.

David Holthouse, played by Roderick Hill, took me through an enrapturing journey of a boy grown to a man wrestling with his past through hatred, obsession, revenge and redemption. Able to transition between ages, heavy outlooks and strong feelings, Hill had me thinking “wow, this could have happened to anyone I know.”

Nancy and Robert Holthouse (Kate Levy and Murphy Guyer) were David’s suburban, concerned and loving parents. Levy and Guyer gave the Holthouses the family-next-store element that it needed. I found myself pondering just how many families out there are afflicted by children burdened with these remembrances.

Additionally, Russ and Carol Crawford were portrayed as the seemingly clueless parents of a son who had committed a horrific act by John Herrera and Roxanne Hart. Herrera had some difficulty with the proverbial “hombre” accent as Payaso and stumbled through a few lines but these instances had no negative consequences for my enjoyment of the play.

Hart also doubled as Dr. Sarah Leavitt, David’s therapist. Hart showed a doctor attempting to aid her patient clinically while maintaining emotional distance with ease. Each supporting character culminated to make Holthouse’s life story unfold in front of me.

And of course, Erik Heger gave a frighteningly realistic performance of the Bogeyman. Heger managed to make me feel a small level of understanding of his character while also making me grip my seat with hatred for him. I can say no more without spoiling it.

If you know someone who has suffered childhood horrors or have yourself—go see Stalking the Bogeyman. Markus Potter’s way of taking you into Holthouse’s life may bring you some closure or some understanding of a loved one. Be prepared to open your life to a few uncomfortable truths but be brave enough to see Holthouse’s life just as he has been brave enough to allow Potter to share it.

Review By: Alexandra Lipari
Photos By: Jeremy Daniel

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

The Money Shot @ The Lucille Lorte Theatre

A biting farcical brush is painted over Hollywood’s elite in Neil Labute’s newest play, The Money Shot. Karen(Elizabeth Reaser) and Steve(Fred Weller) are desperately trying to hold on to their careers and in doing so, put the relationships with their respective partners, Bev(Callie Thorne) and Missy(Gia Crovatin), and any remaining self-respect, at risk. Directed by Terry Kinney, the show both elicits non-stop laughter and thoughtful silence at all the right beats.

The cast shines onstage. It is not a least bit surprising that these actors portrayed their whinier, ego driven characters with an aplomb that can only mean they intimately know the characters they are playing. Elizabeth Reaser(The Twilight Saga) both manages to make fun of herself and “aging” actresses in general as the flighty, dramatic femme. At once calm and collected, at others on the floor in hysterics, she is diva incarnate with a flair that is hard pressed not to enjoy. Fred Weller(Mother and Sons) begins the show as a macho, self-possessed, blustering male, eager to explain away his age with his much younger wife, Missy, and ends the show a great deal more thoughtful than he started when his ignorance becomes too much for Bev, who takes him down several feet of pegs. Weller is fantastic. He drives the script along with the force of an oncoming train, but the points where he really shines are the almost muttered lines of stupidity that are the real catalyst for the tension onstage. Callie Thorne(“Necessary Roughness”; ...Judas Iscariot) was by far the most comfortable onstage. She was so interesting to watch, even when she was silent. Her character refuses to allow even the slightest misinformation slide with Weller while she battles with Reaser regarding their private life. Gia Crovatin(reasons to be pretty) provides much enjoyed humor as the flighty, yet oddly touching younger woman. Trying to be a good wife to misogynistic Weller, her character actually sees the most growth in the play. The least jaded of the group, Crovatin is by no means overshadowed by her more experienced scene partners, but instead delivers quips and cheerleading with the enthusiasm of fresh talent. To say that this cast was perfectly suited to play their counterparts would be an understatement.

As a southern California native, I was pleasantly surprised at the nuances in the play. The set design was beautifully done by Derek McLane, with sound design by Rob Milburn and Michael Bodeen, costumes by Sarah J. Holden, lighting design by David Weiner and stage managed by Christine Lemme.

The world premier of The Money Shot opened at Labute’s resident theatre in the West Village and has an extended run through October 19th. Get your tickets now for a wonderful night in theatre that will have you laughing till your sides hurt.


Review By: Aziza Seven
Photos By: Joan Marcus

The Valley of Astonishment @ The Polonsky Shakespeare Center @ The Theatre for New Audience

What if when you listened to music, you saw colors? Or you had enough memorized words in your brain that you could fill a 10,000 page book? These are just some of the brain phenomenons explored in Peter Brooks and Marie-Helenes Estienne unique play "The Valley of Astonishment." 

Synesthesia is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. How does one convey that to an outside listener in a way that they can not only grasp, but relate to? Kathryn Hunter, Marcello Magni, and Jared McNeill take the stage as a mirage of characters that do just that, 

Equally human and brilliant, the characters portrayed bring to life a story both profound and simple. Brilliant minds in ordinary bodies, creating, feeling, and experiencing life at an intensity that invokes fear and awe in "normal" company. Blending stories, characters, accents, mannerisms, the actors are both heartbreakingly vulnerable onstage as they are fascinating to watch. 

Against a bare back drop, minimilistic stage design, and tailored lights by Lighting Designer Philippe Vialatte, there is nowhere for the actors to hide. Their humanity is stripped bare for all the audience to see and while this is the goal of every actor, this cast does it so effortlessly one cannot help but admire it. 

Musicians Raphael Chambouvent and Toshi Tsuchitori add another level of sensory pleasure with their gorgeous accompaniment. 

A three week only event, "The Valley of Astonishment" closes October 5th, so do yourself a favor and go experience synesthesia with a group of people who will let you live it with them. 

Review By: Aziza Seven
Photos By: Pascal Victor