Wednesday, October 29, 2014

"Lift" (opened October 28, 2014 at 59E59 Theaters, 59 East 59th Street)


Lift




MaameYaa Boafo and Biko Eisen-Martin


An explosion, an act of terrorism, has devastated the upper floors of a high-rise Manhattan office building, the offices of a large law firm. Two employees find themselves trapped within an elevator that has only one unstable cable holding it from falling. Stuck between the upper floors, the elevator provide a place for its conflicted occupants, previously strangers to each other, to meet and grapple with the choices they have made. The situation for them gets worse when a second explosion sends the elevator plunging down a little further, hurling them both to the floor, but uninjured.

With no active signal from their cell-phones, unable to reach out for help or figure out what they can do, these young, attractive, upwardly mobile African-American co-workers Theodore "Big Time" Southmore (Biko Eisen-Martin) and Tina Pardon (MaameYaa Boafo) are destined to find out more than they probably ever wanted to know about each other as they are forced to confront the very real possibility of a horrifying death unless they are rescued soon.

This play, a Crossroads Theatre production, which had its world premiere last April at the Crossroads Theater in New Brunswick, is by popular novelist Walter Mosley, who is most famous for his gritty gumshoe series that features detective Easy Rawlins (Denzel Washington played him in the film version of  "Devil in a Blue Dress"). Mosley takes an interesting premise to create suspense and  tension. The predicament in which Theodore and Tina find themselves lends itself to exploring how people respond to an emergency. But for dramatic substance, the play allows its two principle characters to both address and reveal certain aspects of their lives that they would ordinarily not have the opportunity or the inclination to divulge.

Being trapped for a lengthy period of time in an elevator with someone whose behavior becomes as increasingly unstable as the elevator would seem like a natural set-up for developing an unusual relationship, especially in the light of our having been exposed to two other characters who are introduced and then summarily discarded. Prior to the explosion, you might easily think that a comedy rather than a drama was a-foot. Judging by the giggles that came from the audience during this episode and for much of the dialogue, especially in the play's early moments,  it takes a long time for the play to regain its composure.


Before the catastrophe, we are in the company of John Thomas Resterly (Martin Kushner) a senior partner in the law offices where Theodore works, and to Noni Tariq (Shavonna Banks) a sexy, sassy young woman who has become Tina's friend and is part of the secretarial pool within the firm. All four share the elevator for a short period of time giving the white, middle-aged Resterly a chance to give an embarrassing rant that is clearly meant to define him as a racist, bigot and a class A jerk. Give Kushner a nod for making us cringe and hope that Westerly's presence is temporary which it is. Now give Banks a good grade for making clear that Noni is a walking, talking cliché whose every word bespeaks authoritative condescension. Dispensing with Resterly's recitative and Noni's incomprehensible rudeness to Theodore, our full attention is given to Theodore and Tina, he who is having seizures of some sort at regular intervals and she who is having systematic recurrences of hysteria. 

Considering their inherent dilemma, the unlikelihood of a quick rescue and the very real likelihood of a relationship born out of stress, need and dependence, the play provides the opportunity for each to reveal their back stories, with Tina's more contrived than is Theodore's. Are we surprised if a bond is obligatory as they move from contempt to compassion for each other. Structured as a series of very short scenes that convey the passing of time, the play is at its best as it decodes Tina and Theodore's secret lives.

Two acts with too many scenes that are more enervating than interesting, however,  test our patience. A ten-minute intermission requires us to look at Tina as she examines the walls of the elevator. This, while Theodore cowers in the corner is not a good choice either for the actors or for the audience that doesn't know when it would be polite to get up and go (not necessarily leave but rather go to the restroom).

Climbing the walls is what I suspect some audience members might have considered while Theodore and Tina attempt to get to that meaningful place where their troubled lives are put back into perspective mostly by helping each other. With no help forthcoming for others in other elevators, an incredulous  suicide is wedged into the plot. The actors, however, perform admirably, under Marshal Jones III's direction and respond commendably to the demands of a script that needs more than some judicious pruning to make its plot and its characters simply credible. We don't need the slight tilt of the elevator, the work of set designer Andrei Onegin, for us to see how in need of basic structural repair is this "Lift." Simon Saltzman

"Lift"  (through November 30, 2014)
59E59 Theaters, 59 East 59th Street, New York
For tickets ($70.00) call (212) 279 - 4200

Saturday, October 25, 2014

"Disgraced" at the Lyceum Theatre (Opened October 23, 2014)


Disgraced" (Review by Simon Saltzman)

Disgraced

L-R:Gretchen Mol,Hari Dhillon, Karen Pittman and Josh Radnor (Photo: Joan Marcus)



It was inevitable that my reaction to this play that premiered two years ago at Lincoln Center's Claire Tow Theater and subsequently won the Pulitzer Prize for Drama would be colored and impacted by events in the real world.

The play as directed again by Kimberly Senior, however, remains thoughtful, often blistering and dramatically compelling. Although I reserve my right to disagree with the Pulitzer Prize committee (what else is new?),  I have no reason to change my positive opinion of the play except for the way that its deluge of dramatic contrivances appear slightly more strained and superficially embedded than I recall them.

Akhtar, a Pakistani-American has put an unsettling  spin on a before, during and after dinner party from hell in which well-educated, socially sophisticated, politically savvy people lose their cool and their sense of perspective when it comes to matters concerning religious beliefs, social standing, and cultural identity. A little quibble: Why would a savvy  hostess prepare pork tenderloin for dinner knowing that her guest was a Jew and potential promoter for her art. Forget the fact that African-American Muslims are also not inclined to eat pork. Add a little sexual impropriety and you've  got "Disgraced." Except where the actors are concerned my review is essentially the same as I'd previously written for CurtainUp  two years ago.

Amir (Hari Dhillon)  a successful Pakistani-American lawyer and his adoring white American wife Emily (Gretchen Mol), who is also achieving recognition as a fine artist, appear to be deeply in love and in complete harmony as a couple when we first see them on Saturday morning in their Upper East Side New York apartment. She is sketching a portrait of him, inspired by a portrait of a slave by Valesquez. As he stands nattily dressed from the waist up (below he has on only his boxer shorts), iIt is clear by their chatter and show of affection that their racial divide has not been a divide. It has, in fact, proven a catalyst and an inspiration to Emily whose recent paintings have been notable and noticed for their embrace of ancient Islamic tradition and design.

Things are destined to get out of hand, however, when they are visited by Amirs Pakistani-born nephew Abe (Danny Ashok) and later that evening when two business colleagues— Isaac (Josh Radnor), a Jewish art curator from the Whitney and his African-American wife Jory (Karen Pittman), a lawyer who works with Amir for the same firm — come for dinner.

There is always room for another provocative play in which people are seen moving characteristically from the rational to the irrational when faced with the need to either defend or refute ingrained social, religious and cultural beliefs. There is certainly room for this taut, short play in which no punches are pulled (quite literally). It takes the challenge one step farther and in a way that makes us see how a group of relatively high-minded, purportedly open-minded people can't see or avoid the pitfalls that inevitably come with being right and/or righteous.

"Disgraced" is commendable for the way it doesn't shy away from dealing with topics and issues that we are all taught to avoid in polite company. Though not quite on the same level as the hyperbolic histrionics that fuel "Whose Afraid of Virginia Woolf?", it is nevertheless filled with adrenaline pumping theatrics that go quickly to the heart of what's at stake. At stake for Amir is how to maintain his guarded image despite his Pakistani roots. Fundamental to his view of "intelligence," is his rejection of the Muslim faith, certainly the best way to survive in the current political, professional and social climate, specifically to secure his future with the law firm whose two senior partners are Jewish.

Although he is adamant about not complying with his nephews plea to help an imprisoned Imam, Amir relents to Emily's urging and goes to the prison where his presence is noted by the press and subsequently viewed unfavorably by the law firm. The strain of Amir's impulsive decision to please Emily inevitably grows into rage when he begins to sense that his future has been compromised by his wife's liberal mindedness.

Emotions begin to spiral out of control at the dinner party, presumably an opportunity for Isaac to confirm that he will mount an exhibition of Emily's paintings. On a darker note, Jory, who was originally mentored by Amir but is now a rival, is delegated to unleash some jarring news both of a professional and personal nature. Under Kimberly Senior's excellent direction, all hell inevitably breaks lose as Isaac feels compelled to stand up to the raging and ranting Amir with his own intellectually incendiary rebuttals.


What makes "Disgraced" so compelling and also ironic is in the way in which we see how good intentions turn sour and good deeds are punished. All five of the provocateurs are worthy of being seen as identity-challenged. Dhillon, who played the role of the fast-talking, upwardly mobile Amir in London, is convincing as a man fevered by opportunism that is as much a motivation as is his fervent secularism. Mol, who can currently be seen as Gillian in HBO's "Boardwalk Empire," gives a fine performance as Emily, the well-meaning, blindly liberal wife.

Radnor brings a considerable amount of disciplined tension to the party as Isaac who ultimately has to work as hard to define himself as do the others. Pittman is impressive as the African-American woman who is now unapologetically climbing up the corporate latter. Maskati is effectively intense as Abe, whose allegiances are as vehemently expressed as his real name Hussein is conveniently suppressed.

In a strange way, the up-scale living room setting by the usually brilliant set designer John Lee Beatty takes the notion of beige and mainly bare walls to a new level of blah, especially as it the home of an artist. The setting for the Off Broadway production was designed by  Lauren Helpern) and was more on the money.

 Certainly the fear factor has been exploited to its full potential in these past two years by those who see it as an effective weapon to promote racism, bigotry and intolerance and as a useful political tool to divide and conquer even the more rational among us.

Of course that makes "Disgraced" either more timely and topical than ever, or more incendiary and provocative in light of the more pronounced political posturing that we see and hear on the news and in print. There is a clear and distinct message within "Disgraced" about how easy it is to be unwittingly patronizing with regard to patriotism, nationalism and multi-culturalism.

"Disgraced" (Open ended run)
Lyceum Theatre, 149 West 45th Street

Thursday, October 9, 2014

"Can-Can" at the Paper Mill Playhouse, Millburn, NJ (through October 26, 2014)

Can-Can
Kate Baldwin and Cast


There are innumerable musical comedies from Broadway's golden age that could be improved by a new book, a more essential element these days than it was once. Except for the Rodgers and Hammerstein canon of classic musical plays whose books have remained virtually intact, the memorable songs contributed by the earlier team of Rodgers and Hart, the brothers Gershwin, plus those by Irving Berlin, and Cole Porter (to name just a few of the greats) in their mostly forgotten shows have been largely disassociated from their source.

That is why this commendable collaboration by Joel Fields and David Lee (who also directed) is as welcome as it is rewarding. They have given a more cohesive and even more comedic core to Porter's 1953 Can-Can . It still doesn't make much sense, but I seriously doubt you will find room for complaint after seeing it. Without completely aborting the original book by Abe Burrows, they have added just a little more weight and substance to the plot. It has been done without diminishing the fun and the froth that frames this giddily romantic romp around Paris in the 1890s.To read the complete review plus more information please go to: http://curtainup.com/cancannj14.html

"Little Rock: An American Play" at the Passage Theatre Company in Trenton, NJ (through October 26, 2014)

Little Rock
The Cast of Little Rock: An American Play


Some of us may remember and others may be only vaguely aware of the events surrounding the integration of Little Rock Central High School, Arkansas in 1957. It was a turbulent time in America as bigoted, white anti-integrationists openly defied the push by Negro activists to integrate an all white school. This, despite the Supreme Court decision Brown Vs. Board of Education in 1954.

In Little Rock by Rajendra Ramoon Maharaj, each of the nine students who bravely resisted the impulse to strike back at the white students and faculty who tormented and humiliated them as they attempted to get an education has been given an opportunity to be recognized as an individual. As a group, they stuck together through thick and thin. If they collectively were able to push the restart button in an America that had stalled in its promise for civil rights for all, individually they appear to us as courageous, talented, bright, and even one resolutely humor-motivated teen.

There are lots of stories to be told along with a good helping of songs and singing that has been integrated into what is otherwise a harrowing, heart-breaking play. Let's change that to a play about a group of determined teenagers as a force for change and an America being forced to change.

A series of workshops over the past six years has resulted in this world premiere production by Passage Theatre Company in association with Rebel Theatrical Management LLC. An integrated cast of nine gifted performers not only portray the students but many black and white characters. Their stories progress over the tumultuous period from September 1957 to graduation day in May 1958.To read the entire review and for more information please go to http://curtainup.com/littlerocknj14.html

A Walk in the Woods at the The Keen Company at the Clurman Theatre on Theatre Row, 410 West 42nd Street. 212/239-6200 (through October 18,2014)

A Walk in the Woods
John Honeyman and Kathleen Chalfant(Photo: Carol Rosegg)


A new wrinkle in casting brings an interesting aspect to Lee Blessing's 1988 play A Walk in the Woods in this fine revival by the Keen Company. Traditionally played by two males, we can now sense that a battle of the sexes has been integrated into the interplay between two negotiators, one American the other Russian. And it works effortlessly and effectively.

You may wonder if this play remains relevant in a time when the fate of nations is no longer determined by the give and take of two super powers. Rest assures that it has not only retained its topicality, but also the urgency of its message.

As smartly directed by Jonathan Silverstein, an added dimension is driven by an unapologetically opinionated man in a series of informal meetings with a provocatively conciliatory woman. It makes for a refreshing debate with the negotiators the opposite sex.

The inexperienced slightly arrogant American John Honeyman (Paul Niebanck) has been sent to Geneva to head the United States' arms negotiating team. But, it is not at the negotiating table that he loses the most points with his cynical, testy, and savvier Russian adversary Irina Botvinnik (Kathleen Chalfant) but during their rather long, secluded walks among the Linden trees. For more information and to read the complete review please go to http://curtainup.com/walkinthewoods14.html

Friday, October 3, 2014

"You Can't Take It With You" at the Longacre Theater (through January 4, 2015)




You Can't Take It With You
Fran Kranz, Rose Byrne, Johanna Day, Kristine Nielsen, James Earl Jones, Will Brill, Mark Linn-Baker, Annaleigh Ashford, Byron Jennings(Photo: Joan Marcus)





 There is a musical aspect at the heart of "You Can't Take It With You" that rhythmically and melodically transports us into another state of consciousness. And I'm not talking particularly about the joyous-to-watch actor Will Brill, who as the flitting and fluttery Ed, pounds out Beethoven's "Ode to Joy" and a little later Rimsky Korsakoff's "Scheherazade" on an xylophone perched on the second floor landing of the Vanderhof home meanwhile in the living room below his wife Essie (the hilariously comedic Annaleigh Ashford) dances sur les pointes without any discernible talent or technique .

If the sound of music is designated to compete with the occasional explosions of gun powder coming from the basement, let it be, as it is only a part of the harmonious cacophony created by the wonderfully eccentric characters in Moss Hart and George S. Kaufman's 1937 Pulitzer Prize-winning comedy. While it walks, talks and looks like a musical, it isn't, although you could swear that everyone is preparing to burst into song, mostly to fully express the play's daffy "Depression era" philosophy.

Even without songs to enhance characters that have since become icons of nonconformity, there is now on the stage of the Longacre Theatre an assemblage of performers who individually or in concert swing and sway to the intrinsic musicality of the play. This is one of those rare comedies in which each lilting scene responds to the exacting beat of a metronome, as in this case, determined by director Scott Ellis.

This is the first Broadway revival of this classic since 1983. It seems like on only yesterday that we were invited back into the home of a family of good-hearted, tax-dodging, laws-avoiding loonies who stand their ground, persevere and incredulously succeed. The deliciously inane behavior of the Sycamore family has become an American legend in the past 78 years, thanks to the innumerable stock, regional and school revivals. Charismatically attracting strangers into their midst - - - who manage to stay on after visiting hours are over, the Sycamores demonstrate the contagious joy of self-expression.

The innocently anarchic philosophy of Grandpa Vanderhof (James Earl Jones) acts as an inspiration for this close-knit family.  Jones has been an imposing dramatic force on the stage ever since his debut in 1957 with his Tony Award-winning performance in "The Great White Hope." makes crafty use of his well-being and brings a keen sense of a man willing to sacrifice a lot in the pursuit of happiness...that includes attending college commencements and collecting snakes. Kristine Nielsen, who only last season charmed audiences in "Vania and Sonia and Masha and Spike," is a delight as his slightly ditsy daughter Penny, who took up playwriting one day when a typewriter was delivered by mistake. Her husband Paul (a fine performance by Mark Linn-Baker) has discovered how exciting making fireworks can be, as assisted by a now-permanent house guest Mr. De Pinna, played by the wonderfully comical Patrick Kerr.

It will be a long time before I forget the entrance and the coming-right-at-you gaze of  Elisabeth Ashley the Grand Duchess Olga Katrina aka the blintzes Queen of Russia,. Reg Rogers is terrific as the impassioned Russian dance teacher who makes no pretense about how he feels about his pupil Essie, whose dancing, except for her fevered entrechants, is likely to evoke the image of a dying ostrich. What more can one say about Julie Halston, who plays the stupefied alcoholic actress whom Penny met on a bus and brought home, but that she is HILAROUS.

Rose Byrne, who is best known for her role in the TV series "Damages," is making a disarming Broadway debut as Penny's daughter Alice who becomes increasingly mortified by the thought of having her family meet her suitor Tony Kirby's (excellent performance by Fran Kranz) family. The stuffy Kirby's are played with earnest aplomb by Byron Jennings and Johanna Day.

The spectacle and detail within designer David Rockwell's cluttered living room setting adds to the pleasure we experience. Director Ellis has done something much more than direct another successful revival of a classic. He has allowed the play the freedom to expand into a life it has never known before, at least to these eyes.  There may be some truth in the saying "You Can't Take It With You," but certainly the memory of it will linger for a long time, and possibly until the next revival comes along.

My memory of "You Can't Take It With You" also goes back to 1965 and the production directed Ellis Rabb for his A.P.A. Phoenix Repertory Co. He also directed the 1983 Broadway production.  How wonderful it is to see that the glorious Rosemary Harris, who played Alice in the A.P.A. production, is  back in New York starring in Tom Stoppard's "Indian Ink."

"You Can't Take It With You"  at the Longacre Theatre,
220 West 48th Street (212) 239-6200