The Snow Geese

Posted by Mondschein

"The Snow Geese" presented by Manhattan Theatre Club, October 20, 2013

An approaching winter of discontent is stirring as the lights come up on The Snow Geese, Sharr White's new play at Manhattan Theatre Club.  It's November, 1917, and the Gaeslings have gathered at their country lodge outside Syracuse, NY to celebrate the opening of goose hunting season.  The gloom of Theodore Gaesling's recent death looms over the proceedings as his widow Elizabeth (Mary Louise Parker) struggles to keep her chin up as her first-born Duncan (Evan Jonigkeit) prepares to ship out to fight in WWI France.  Elizabeth's pious sister Clarissa (Victoria Clark) and husband Max (Danny Burstein) have taken up residence with Elizabeth after local anti-German sentiment has forced them out of their own home and Max's medical practice. The house staff has reduced to a new Ukrainian immigrant maid, Viktorya, whose beauty has enraptured younger son Arnold (Brian Cross).

Arnold has also been tasked with sorting out the books following his father's death, which turns out to me more of an autopsy of the family finances.  It seems Theodore was no savvy businessman.  Previous staff and accountants had drained the family's wealth.

What to do?

A Time to Kill

"A Time to Kill"  at John Golden Theatre,October 10, 2103

Posted by Mondschein

(photo: Carol Rosegg)

The prodigious author John Grisham has entered a third medium to recycle his work with Rupert Holmes' adaptation of his first novel "A Time to Kill" now running on the Great White Way.  I've been a Grisham fan for many years, getting hooked first with "The Firm," which led me to "A Time..." and I've read almost everything he's written since then, good, bad or indifferent.  I like that his work is an easy read, sometimes a little pulpy, but generally perfect for an afternoon on the beach or a couple of hours on an airplane.

Wisely, Mr. Grisham has turned over the adaptation of his work to someone who has strong experience in writing for the theatre.  He gets off scott-free if the effort tanks, or gets all the glory for creating the source if the play becomes a hit.  Don't forget, he's a lawyer at heart and understands how to balance the risk/reward equation.
 
For him, that's a good thing. 

Macbeth

The National Theater of Scotland's production of "Macbeth" at Ethel Barrymore Theatre, May 20, 2013

Posted by Mondschein

Alan Cumming returns to the Great White Way, reprising his one-man production of the Scottish Play following last summer's visit during the Lincoln Center Festival.

Under the direction of Once director John Tiffany and Andrew Goldberg, it's another riff on Marat/Sade with inmates putting on the play.  Mr. Cumming appears to have arrived after an undisclosed traumatic event, bloodied and confused.  His caretakers (Jenny Sterlin and Brendan Titley) tend his wounds, collect his clothes and tissue from a cheek swab and under his fingernails.  It's something of a next step compared to the 2008 Broadway revival with Patrick Stewart perhaps, but I'm equally unconvinced of this concept as well.

Who's Afraid of Virginia Woolf?

Posted by Mondschein

"Who's Afraid of Virginia Woolf?" at the Booth Theatre, October 11, 2012

Chicago's Steppenwolf Theatre returns to Broadway with the revival of Edward Albee's play about the battle that is marriage.

It hasn't been all that long since the last Rialto revival with Kathleen Turner and Bill Irwin, so I was interested to see what this new production has to offer.  What we get is a solid retelling of the play, much like last season's revival of Death of a Salesman, proving again what a well-made play it is.  Beyond that, there's not much unique in this production.

One thing I did notice, was that Amy Morton's Martha has acceded some of the power to Tracy Letts' George right from the start.  Even though she brays and intimidates, it doesn't land with the same vitriol one usually experiences.  With that opportunity, Mr. Letts' George is now free to wield his sarcasm like a sword, slashing at Martha and their guests.

Speaking of, this Nick (Madison Dirks) and Honey (Carrie Coon), fall right in line behind whoever is spewing the venom.  Mr. Dirks captures the requisite loose athletic demeanor of Nick's football past.  Ms. Coon gives a nice turn as the besotted Honey, though not quite as fragile as other interpretations.

Director Pam MacKinnon keeps things moving fairly well, though there were a couple of slow spots in Act II as the party games transition from "humiliate the husband" to "get the guests."

Todd Rosenthal's large living room set captures the academic environment, but went a little overboard with the stacks of books literally everywhere.

Who's Afraid of Virginia Woolf is on an open-ended run.  Tickets here.

Ghost, the Musical

"Ghost, the Musical" at Lunt-Fontanne Theatre, April 20, 2012

Posted by Mondschein

Yes, another Whoopi Goldberg film has made its way onto the stage, landing at the Lunt-Fontanne laden with scads of sparkling, flashy lights and some remarkably clever stagecraft.  Yet, like its predecessors (The Color Purple, and Sister Act), the results are mixed at best.  (Full disclosure, I did not see The Color Purple.) 


Bruce Joel Rubin's cursory book remains true to the film, telling the story of Sam (Richard Fleeshman) and Molly (Caissie Levy), young lovers parted by Sam's murder at the hands of a hired thug.  Unable to move "into the light" Sam eventually connects with Oda Mae (Da'Vine Joy Randolph), a two-bit psychic with heretofore unrealized abilities.

Once

Posted by Mondschein 


"Once" at Jacobs Theatre, March 8, 14 and 28, 2012

(Photos: Joan Marcus)

It's been a couple of years since I've seen a show multiple times.  The last was Lincoln Center's sweeping revival of South Pacific, which I saw once in previews, once mid-run, and the closing performance. The beauty and romance of that show is very different from Once, based on the 2006 movie of the same title.

After a successful run off-Broadway at New York Theatre Workshop, Once has moved uptown for what I hope will be a lengthy run. It brings its own sense of romance, intimate and touching, while hunkered down in a Dublin pub.  Each of its characters are searching for his or her respective place in the world.

Leading the quest are the generically, yet conspicuously named Guy (Steve Kazee) and Girl (Cristin Milioti).  He, a vaccuum repairman and frustrated musician, is foundering after having his heart broken by a recently emigrated girlfriend; she, by an estranged husband who has returned to their native Czech Republic.  She encounters Guy at the pub and is immediately drawn to him, sensing his despair, and manages to turn him to his music to resolve his pain.  The spark between them smolders slowly as each convinces themselves of reasons to stay apart.  She sees his departed girlfriend as first love unresolved, which would forever be a barrier between them.

Relatively Speaking

"Relatively Speaking" at Brooks Atkinson Theatre, December 20, 2011

Posted by Mondschein

As the graphic indicates, this is an evening of 3 unrelated one-act plays.

First up, Talking Cure by Ethan Coen.  Mr. Coen, you make very interesting movies.  Please return when you have an interesting play to show us.  Of all the work I have seen you produce for the stage (Offices, Almost an Evening), none have met that category yet.

On a Clear Day You Can See Forever

"On a Clear Day You Can See Forever" at St. James Theatre, December 15, 2012 

Post by Mondschein

Why?

Why change the focus of the story from Daisy, now David (David Turner) to the psychologist Mark (Harry Connick, Jr.) 

Why hire Mr. Connick to perform on Broadway and not let him do what he does best? Did none of the producers and/or creative team see Pajama Game?  "Hernando's Hideaway" turned that show on its ear, combined with the infused chemistry playing opposite Kelli O'Hara.  We get neither here.

Why not have him accompany Melinda's (Jessie Mueller) numbers, particularly "Ev'ry Night at Seven," among several others of which could have been beefed up to accommodate him.

Lysistrata Jones

 "Lysistrata Jones" at Walter Kerr Theatre, November 18, 2011

Transferring from off-Broadway run downtown, Douglas Carter Beane takes on the Greeks again in this re-telling of the Aristophanes classic.  Tongue remains firmly in cheek, much as it did with Xanadu a few years ago.

Private Lives

Posted by Mondschein

"Private Lives" at The Music Box, November 15, 2011

This London transfer brings Kim Cattrall back to the Rialto for the first time in 25 years, leading this production of the Noel Coward classic.  Her Amanda was hailed in London and she arrives in New York with a new Elyot in the very handsome Paul Gross.

The crossing seems to have had an impact on the production.  I will confess that there was much to live up to in my eyes, having basked in the glorious revival of 2002 with Alan Rickman and Lindsay Duncan. (Unfair?  Perhaps.)

Man and Boy

"Man and Boy" presented by Roundabout Theatre Company at the American Airlines Theatre, September 10,  2011

Back to reviving classic American theatre, the Roundabout has scored Frank Langella to lead Terrence Rattigan's 1963 story of a corrupt, big-money, business mogul.  Set in 1934 New York, Gregor Antonescu (Mr. Langella), who single-handedly saved the the Franc in 1926, is viewed as the Warren Buffett of his day.  The parallels to today continue with the Great Depression era during which dissatisfaction with Roosevelt sound a lot like the criticisms of President Obama. The truth turns out to reveal Antonescu as a Madoff-like cretin, who created an elaborate Ponzi scheme which is about to collapse.

Antonescu is laying low in NY, and turns to his estranged, illegitimate son Basil (Adam Driver), for help to complete a last ditch deal to re-supply his organization with cash.  Basil has cut ties and abandoned the lifestyle that might have been his after a failed attempt to shoot his father on his 21st birthday.

Follies

"Follies" at the Marquis Theatre, September 8, 2011

Stephen Sondheim's 1972 musical returns to Broadway via the Kennedy Center transfer from a successful run this summer. 

It's got star power with Bernadette Peters and Jan Maxwell as Sally and Phyllis, respectively.  There's some depth in the cast as well, with Danny Burstein, Jayne Houdyshell and featuring Elaine Paige as Carlotta.

Director Eric Shaeffer creates an aptly dark mood with a ghostly chorus line of deco-clad follies girls haunting the stage, already in motion as the house opens pre-show.  His sound designer carried it a bit too far, employing effects from Disney's Haunted Mansion before the show begins.  Derek McLane's sets also straddle the line of success.  The crumbling proscenium and brick-walled set, with iron catwalks and stairs evoke nicely, but draping the entire theatre in dirty oil cloth pushes too far.

Follies: A Review

I was a lucky SOB and scored a preview performance ticket to the current revival of Follies that is playing at the Marriot Marquis Theater on Broadway.

For those of you who don't know, Follies is one of those shows within the musical theater world that is so fraught with expectation, dogma and preconceived notions that mounting a production is not something for the faint of heart. I did not see the original and legendary production from the 70's, which many hold up as the holy grail of versions, but I saw the much reviled Roundabout revival and enjoyed it. Obviously I'm not a purist so bear that in mind.

Master Class

Posted by Mondschein

"Master Class" presented by Manhattan Theatre Club at the Samuel J. Friedman Theatre, June 26, 2011

Terrence McNalley's 1995 fantasia of Maria Callas conducting a master class at the Julliard School in the 1970s returns to Broadway courtesy of Manhattan Theatre Club. 


Playing La Divina is an unlikely Tyne Daly, whose Callas simmers and seethes through the thinnest of skins, bristling at the smallest perception of a slight to a star of her caliber.  Ms. Daly masters the intricate diction of the singer beautifully, though she felt occasionally less than clear as she navigated the memory segments, interacting with her first husband, then Onassis.  Callas was a consummate acting singer - a novelty in opera at the time.  As she coaches each of the three "victims" (her word), she sends each one back to their score to find the answers in the composer's music and text.  (It's a solid performance/coaching/directing technique best and most recently demonstrated by David Cromer's recent productions of "Our Town" and "Brighton Beach Memoirs.")  Ms. Daly's Callas is not subtle though she strives for elegance.  The narcissistic fragility interrupts too often.

Catching Up the Backlog

It's been a busy spring.  Here's a collection of summaries on what I've seen of late.

"The House of Blue Leaves" at the Walter Kerr Theatre, April 11, 2011

This revival was a big hit in it 1986 production at Lincoln Center Theatre with John Mahoney, Swoosie Kurtz and Stockard Channing.  I wish I'd seen it.  Instead we get Ben Stiller, who was also in the 1986 production, with Edie Falco and Jennifer Jason Leigh.  Ms. Leigh is the only one close to being appropriately cast.  Director David Cromer seems to have strayed from what made his last two successful productions work (Our Town and Brighton Beach Memoirs) - focus on the text.  One has to wonder how much pressure there was for commercial success after the unfortunate end of the latter.  Mr. Stiller flails but never nails the desperation of Artie, making the ending twist all the more flabbergasting for the wrong reasons.  This limited run ends July 23, 2011.

"The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures" at the Public Theater, April 13, 2011

The Normal Heart - A Review

There were several ways I considered approaching writing this review. One idea was to simply to write the word "exceptional" over and over again.  Other words that came to mind were "shattering," "moving" and, sadly, "timely."

However it is probably best to handle this in a traditional format.

Larry Kramer's The Normal Heart, which opened last night on Broadway...wait a minute, let's put this in perspective.  The Normal Heart, a play that has become an irreplaceable piece of not just gay theatrical canon but of theatrical canon in general, had its Broadway opening last night a full twenty years after it was first produced off-Broadway.  It has taken that long for this brutally honest yet achingly heartfelt play to finally make its way to the Great White Way.

Born Yesterday - A Review

Posted by David

Certain plays, no matter when they were written, if properly presented can withstand the test of time.  While written of and for a certain time, they contain basic themes that continue to resonate.  Remount these works with a cast and crew of talented and focused individuals and the end result will transcend the period trappings that surround the piece.

How fortunate, then, that the classic comedy Born Yesterday by Garson Kanin, originally produced on Broadway in 1946, has been given such a stellar treatment at the Cort Theatre on West 48th Street.   Directed by Dough Hughes and starring Robert Sean Leonard, Jim Belushi and rising star Nina Arianda, the work shakes off any dust and shines like a family heirloom proudly passed down to the next generation.

Born Yesterday

Posted by Mondschein


"Born Yesterday" at the Cort Theatre, April 7, 2011

Garson Kanin's classic spin on Pygmalion has returned to Broadway in a gorgeous, but uneven production directed by Doug Hughes.  This vehicle, which made Judy Holliday a star, provides a similar opportunity for Nina Arianda, making her Broadway debut as Billie Dawn.  Ms. Arianda certainly has earned the chance with her turn in the title role of Venus in Fur last year at Classic Stage Company.

High

Posted by Mondschein

"High" at the Booth Theatre, March 29, 2011


Matthew Lombardo returns to Broadway from last season's so-so Looped with story of sin, redemption and weakness.  Sister Jamison Connelly (Kathleen Turner) is a well-respected counselor at a Catholic-sponsored rehab facility.  Her supervisor, Father Michael (Stephen Kunken), convinces her to take on 19 year old Cody (Evan Jonigkeit) whose addiction profile falls outside of the facility's usual requirements (gay, not Catholic).  High is a better effort than Looped, but still has its own issues.

Catch Me If You Can

Posted by Mondschein

"Catch Me If You Can" at the Neil Simon Theatre, March 21, 2011


Marc Shaiman and Scott Wittman have mined Hollywood to create another excellent stage musical adaptation from the 2002 film of the same name.  This time around, wisely, they've taken a bit more of a conceptual approach to tell the story of con man Frank Abagnale, Jr. (Aaron Tveit), who scams his way around the globe amassing and burning through lots and lots of money that's not his.  Working as a memory play, it starts as Frank gets caught by Carl Hanratty (Norbert Leo Butz), the federal agent who has been chasing him for years.  Frank, eager to finally tell his story, turns it into a television musical special along the line of Jackie Gleason's in the 50's or Dean Martin's series in the '60s, complete with a full cast of chorus girls, the Frank Abagnale, Jr. dancers.  With a tight book by Terrence McNally, Frank starts his tale as a teenager, learning from his father, Frank, Sr. (Tom Wopat), that image is everything.  Honesty, financial responsibility - - not so much.

Spoiler Alert