"In Transit" at the Circle in the Square (through June 25,2017)

The Cast

That I had to be reminded that I had previously seen and reviewed “In Transit” when it first appeared in a Primary Stage production at 59E59 in 2010, suggests one or two things: it was either negligible and forgettable or that its impact on me at the time was simply that of a pleasant but passing diversion. Now I can say that the newly envisioned version that has arrived at the Circle in the Square is once again diverting but more importantly greatly accessorized and enhanced for Broadway.

This is the work of director-choreographer Kathleen Marshall who has staged the show three quarters in the round. Moving along like an express train, it has more moving parts, more dazzling visual and lighting effects that had the previous version. A terrific cast, all of whom are excellent singers, navigates through this show with notable enthusiasm, often at  break neck speed. Unexpectedly captivating if also intentionally episodic, the show quickly involves us with a group of rather ordinary, let's say unexceptional, men and women. That they all become increasingly endearing as they go about their various pursuits is the strength and the delight of “In Transit.”But what makes it exceptional is the musical concept/conceit that drives the action: A Cappella, or group singing without instrumental backup.

The composers — Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth — have created a patchwork of complex harmonics, melodies and riffs that define the show's various characters. The score also resounds admirably with the pulse and the sounds of the city.

Marshall keeps the highly energized company moving gingerly both in the subway and in their occasional forays above ground. Set designer Donyale Werle has created a commendably detailed depiction of a subway station on two levels with a moving tread mill down the center of the lower playing area. The crackling, often incomprehensible public address system gets laughs as does "attitude" from a nasty Booth Lady (Moya Angela, who also plays several other roles). There's an on-going conflict between her and Nate (James Snyder,) a young man laid off from his job in finance by the current recession who may never get to an important job interview because his metro card has been eaten up by a faulty machine.

Chessney Show (repeating his original role but alternating with Steven “Heaven” Cantor) is the street savvy Boxman and the show’s rhythmic, and sound effects-making centerpiece. He serves as a bridge to the other characters as he lyrically describes himself "It's Box for Boom Man, It's Box for Beat Man, It's Box for open, receptive and yet complete, Man." His virtuosic rap arias are integrated with some specifically non-human sounds, providing a generous helping of vocal support.

The Boxman is particularly supportive of Jane (Margo Seibert) the young aspiring actress with a temp job who is off to an audition and in whom he takes a friendly interest. He also helps Nate get through the turnstile. But don't expect Jane to turn into an overnight star or Nate to nail a great new job with a corner office. This being a musical, what you can expect is for Jane and Nate to add a touch of romance to the plot.

  Trent (Justin Guarini) and Steven (Telly Leung) are also prominent as two gay guys who want to get married among the thirty-eight characters who traverse this lyrically-enhanced realm with big problems. Trent is particularly worried about their visit to his religious mother in Texas (Moya Angela again). Ali (Erin Mackey)recently broke up with her boyfriend and is destined (maybe) to spend all her Saturday nights alone. This is a musical that determinedly wants us to feel and share the anxieties and the stress of easily recognizable types in transit. If there is a purposefully prescribed banality to the overly familiar situations these people are facing, we are nevertheless inclined to be empathetic to the strengths and the sensibilities they reveal as resident and very typical New Yorkers.

All the performers are impressive as soloists as they are as backup singers for each other. If I find it difficult to single out specific songs, it is, nevertheless, easy to appreciate a musical in which the lyrics offer a multi-layered portrait of life in Manhattan. We don't often get to enjoy the purity of the a cappella musical, but this is one that winningly asserts itself with its lyrical and harmonic charms.

"Life is For Living: Conversations with Coward" at 59E59

David Shrubsole at piano and Simon Green  (photo credit: Heidi Bohnenkamp

“There are probably greater painters than Noel, greater novelists than Noel, greater librettists, composers of music, singers, greater dancers, comedians, tragedians, stage producers, film directors, cabaret artists and TV stars. If there are, they are twelve different people. Only one man combined all twelve labels - The Master.” - quote (that begins and ends the show) from Lord Louis Mountbatten.

The audience for this intimate entertainment is seated, or rather squeezed, around small cocktail tables in presumably the smallest space at 59E59. The thought of survival in an emergency becomes a question even before the start of Simon Green’s otherwise reverential and rewarding cabaret-styled act in adoration of the ascribed “master” of all things theatrical Sir Noel Coward. It takes only a minute to forget that you feel as if (as my companion described it) “we’ve been stuffed into an ice-cube tray” and surrender to selections mainly taken from Coward’s letters, prose, poetry, and diaries and of course his plentiful canon of songs, purposely chosen for their unfamiliarity than we might otherwise expect.

Mr. Green is a tall, nice-looking gentleman with a poise, presence and demeanor that is tailor-made (liked that snazzy vest) to represent, if not impersonate, the aura of Sir Noel as he segues from text to tune (a couple of dozen) with artful and obligatory precision. Green sings well enough and at times very well, indeed.

It is, however, in the subtext of Green’s special material and in his exemplary performance that we see Coward’s views of a changing world. This is most evident in his ability to give some of the sharp turns and clever twists in the mostly mirthful lyrics a touch of melancholy. Such brittle and, indeed, comical ditties as “What’s Going to Happen to the Tots,” and “I’ve Been to a Marvelous Party” and “I’m Here for a Short Visit” suddenly become astute social commentaries even as they remain insistently quaint.

  

Green gets major and marvelous assist from his accompanist and composer David Shrubsole who doesn’t miss a beat following Green’s breezy and purposely fluid narrative. Shrubsole’s own lilting music and lyrics are woven seamlessly into the program that also somewhat mysteriously but not without intent, interpolates songs by Irving Berlin, the Gershwins, and Cole Porter and the less known Ivor Novello, with the latter the closest to him in sentiment if not snap.

The opportunity for Green to snap came during his performance at the Sunday matinee I attended when a woman seated in the first row continued to talk during a song. Green stopped and glared at her and then gently asked her “Is anything wrong ...(silence) You’re speaking. I’m doing a show.” He apologized to the audience and brought us back to Coward’s world without a ripple. A line from one of the amusing songs contributed by Shrubsole defined that moment beautifully: “Everybody thinks they’re someone, including me.”

 "Life is For Living: Conversations with Coward"  at 59E59 through January 1, 2017

"Othello" at New York Theatre Workshop through January 18,2017

David Oyelowo and Daniel Craig (photo: Chad Batka)

Daring and deliberately unconventional interpretations of the Bard’s great tragedy about power and jealousy abound as they do with almost all the play’s in the canon. “Othello” has been envisioned again with an emphasis on the action taking place in its own graphically conceptualized and realistically militarized time, as well as being dutifully respectful to the classic text. In the hands of director Sam Gold (“Fun Home”) for the New York Theatre Workshop,  it becomes the most extraordinary and chilling production of Shakespeare’s tragic play I have ever seen.

That the story’s psychosexual subtext remains its most interesting aspect gives a creative director and his splendid cast plenty of opportunity to dig beneath all the obligatory sound and fury. Othello may not be able to completely escape his origins as the Moor of Venice, but the now un-moored (no pun intended) Army General we see in combat fatigues is played by a brilliantly intense David Oyelowo. He is still waging war with Turkey and in charge of a diverse multi-cultural squad of  tough well-armed soldiers, including that weasel and second-in-command Iago. He is played with steely eyed conviction by a terrific Daniel Craig.  

The evocative setting created designer Andrew Lieberman has the audience seated on bleachers (fairly comfortable) with backs that surround three-sides of the playing area. Flat army cots in rows are moved about on a plain wooden floor and pulled out of view for different scenes, as is all the equipment and the gear that fill the barracks.

We are thrust into a world in which the characters whom we know traditionally are now seen in the light of modern warfare and even politics. As it has always been, it is the sexual politics that are at the forefront of this Othello. Although Shakespeare doesn’t dwell on or insinuate more than meets our eyes and ears in the various relationships, all revolving around Othello’s wife Desdemona’s innocence or lack of, we can always speculate in this case given the depth and the degree of nuance in the performances by both Oyelowo and Craig.

Of all Shakespeare’s tragedies, Othello is the one that I have always found to be the most exasperating. Of course, it is to the play’s credit that it can rile one up time after time. It used to be that seeing this almost melodramatic dramatic trine catapulted to their doom for no more good reason than a misplaced handkerchief would make me want to yell out to Othello, “You stupid fool.”

Although performed with passion run amok Oyelowo, Othello still too easily succumbs to that “green-eyed monster.” A victim of political and amorous intrigue, Othello is also notably burdened by his concealed securities not to mention his epileptic fits. That is enough baggage for any actor. Oyelowo, however, does very well by this given Othello’s tendency to rant and to rage, blinded as much by his sudden success and power as he is by the machinations of Iago, his ensign and closest friend.

Mainly known as a film star rugged-looking Craig has given laudable performances on Broadway in “Betrayal” and “A Steady Rain.” In this his NYTW debut, he is spell-binding and invests the devious, duplicitous Iago with a steadfastly articulate voice and a stealthily Machiavellian swagger. Being more down-to-earth than demure, Rachel Brosnahan (NYTW debut) is not your typical Desdemona but she earns our empathy with her heartbreaking pleas.

Finn Wittrock is virile and charismatic as the duped Lieutenant Cassio. Matthew Maher makes a strong impression as the misguided, always lurking-in-the-shadows Roderigo. There are fine performances by the two other two principal women Marsha Stephanie Blake, as Iago’s wife and Nikki Massoud, as Cassio’s mistress.

The lighting design by Jane Cox and sound design by Bray Poor are as dramatically exciting as are the performances. Three hours and ten minutes have never gone by so swiftly and so thrillingly.

“Othello” (through January 18, 2017)

New York Theatre Workshop, 79 E. 4th Street

"A Bronx Tale: The New Musical" at the Longacre Theatre

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Nick Cordero and Hudson Loverrro (Joan Marcus)

I’m not surprised that “A Bronx Tale: The New Musical” has found its way to Broadway following its run last February at the Paper Mill House. It’s an okay show with a pleasing score, a mostly predictable plot and ingratiating performances. It’s also okay if you, like me, never saw “A Bronx Tale” either in its original form as a one-man Off Broadway show in 1989, the 1993 fleshed-out film version, or its  return engagement on Broadway in 2007 in which its author and star Chazz Palminteri once again took the audience back to the 1960s Bronx neighborhood of his youth and where he grew up under the influence of two father figures, his own an upstanding bus driver and that of the local Godfather.

The introduction, for myself, to this somewhat dark, purposefully discomforting tale told in the light of its latest incarnation as a musical turns out to be for the most part an enjoyable entertainment. This song-filled, exuberantly acted and smartly staged trip down one man’s unapologetically sentimentalized memory lane should please the folks who harbor nostalgic memories of neighborhoods divided by racial lines and territorial gangsters.

Despite its tendency  (make that its aim), to romanticize the thugs and goons that reigned over New York’s ethnic-divided neighborhoods as did also the more homogeneous ones like Manhattan in the much more satirical “Guys and Dolls,”  this autobiographical musical does neither completely glorify nor wholeheartedly denounce these denizens. Comfortable with killing as they are, these often deplorable characters are, however cautiously idolized, in the eyes of its youthful narrator who as a nine year-old witnesses a street killing.

Under the guidance of two directors Jerry Zaks (who directed the stage version) and Robert De Niro (who directed the film), the production, has, as its main asset, a vibrant score by Hollywood and Disney favorite Alan Menken (“Little Shop of Horrors,” “Beauty and the Beast,” “The Little Mermaid,” “Newsies,” “Aladdin”) that that essentially puts the show into its orbit. Its joyously integrated pretensions of the Doo Op era are perfectly blended in the best Broadway tradition.

Menken’s collaborator-lyricist Glen Slater (“Mermaid”) who is also represented now on Broadway by “School of Rock,” has done beautifully by empowering the ear-pleasing melodies with street lingo and with an unaffected honesty. One song “Nicky Machiavelli,” in which top gangster Sonny (as played with sustained panache by Nick Cordero) conveys to the young Calogaro (at the performance I saw a wonderful Hudson Loverro who is alternating with Athen Sporek) the philosophy that he acquired doing time in prison.

It’s that conflict of philosophies between the swaggering Sonny and that of Calogaro’s loving but stern father Lorenzo (Richard H. Blake) that is the basis for the plot. Lorenzo has to keep reminding Calogaro that there is “nothing so sad as a talent that’s wasted.” Which philosophical perspective is the one Calogaro is to believe confuses the impressionable youth. His choice, as the musical would have us believe, basically determines his moral and ethical path for the next eight years. The show effectively uses both the young Calogero and an excellent Bobby Conte Thornton as the seventeen year-old Calogero and who serves as is the musical’s narrator throughout as he also cleverly shadows his younger self in the early scenes.

Not quite left in the shadows is Calogero’s loving mother Rosina, played with warmth to spare by Lucia Giannetta who gets to reprise a lovely ballad “Look to Your Heart” previously introduced by her husband and son. The musical also considers the racial divide between the blacks who live in the Webster Avenue section and the Italians who live in the Belmont Ave section of the borough. A sweet but also dangerous romance blossoms between Calogero and Jane a pretty black student who is appealingly played by Ariana Debose. It triggers violence and  a tragedy.  Notwithstanding shades of “West Side Story” in the plot, the choreography by Sergio Trujillo is exciting as it offers some dynamic dancing by both the black and white performers. There are also sweet moments supplied by a street-corner doo wop quartet.

Beowulf Borritt’s spectacular set design frames the action with towering rotating tenements with metal fire escape balconies, as well as the row houses on 187 St and Belmont Avenue. The local bar and other locations are seamlessly integrated, all under the superb lighting by Howell Binkley. As expected, costume designer William Ivey Long captures the look of the era perfectly with his expected flair. There is no doubt that the habitués of Schubert Alley will enjoy this diverting trip to Belmont Avenue. 

"A Bronx Tale: The New Musical"

Longacre Theatre, 220 West 48th Street 

“Master Harold...and the Boys” (through December 4, 2016) Signature Center, at 480 W. 42nd Street.

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L-R:Sahr Ngaujah, LeonAddison Brown, Noah Robbins (photo: Monique Carboni)

“Master Harold...and the Boys” may not be the best of the many plays that South African playwright Athol Fugard has written over the past fifty years, but it is the first one that I saw when it opened on Broadway in 1982. Since then I can rate such gems as “A Lesson From Aloes,” “Sizwe Banzi is Dead,” and “The Road to Mecca” more highly in his canon. But that doesn’t make “Master Harold...and the Boys” any less a memorable play worthy of revival. And this one at the Signature Theater stands high with a fine cast and under the knowing direction of the playwright (who also directed the original production).

The tragedy of South Africa’s embrace of apartheid and its effect on a people who needed a good deal of consciousness raising and love to bridge those ridiculous man made boundaries is the theme but not the story of this impassioned play. As are many of Fugard’s plays, this one is a particularly courageous attempt to expose the root cause of hate among men ten years before a new government would officially end apartheid.

The play’s setting is South Africa in 1950 and it brings together universal truths through the interaction of three characters who discover painfully and irrevocably how seeds planted in childhood bear fruit in maturity. The loves and emotions of these three sensitive human beings are entwined in a relationship that is destined to become a stage on which are exposed the weeds of bigotry. But it is a place in which we also see a blossoming of understanding and tolerance.

Mostly free of pompous platitudes but rich with metaphor, “Master Harold...and the Boys” is a powerful and compassionate story of Hally (Noah Robbins) a seventeen year Afrikaner who finds himself at the crossroads of childhood and manhood unable to make a comfortable adjustment in his relationship with two black middle-aged waiters he has grown up with in his parents’ tea room in Port Elizabeth and for which set designer Christopher H. Barreca has created the realistic ambiance.

Sam (Leon Addison Brown) and Willie (Sahr Ngaujah) have been Hally’s second family since he was an infant. The delicately balanced relationship between them has been kept more or less subliminal until a crises occurs that detail the crumbling of Hally’s character, . Unable to cope with the knowledge that the Boys have mentored him through the years and nurtured a kinship that their society is not able to tolerate, Hally stupidly and irrationally regresses to a state of despair and more regrettably ignorance when he is forced to deal with the unexpected return from the hospital of his disabled and alcoholic father (unseen).

As the story’s provocateur, Hally is a complex mixture of immaturity and intelligence. Noah Robbins’ stature is on the small side but it works as an intriguing center of politicized and social power particularly in contrast to the hefty bodies and subservient positions of his co-stars. Robbins, who made a terrific impression in the excellent but short-lived revival of “Brighten Beach Memoirs,” is perfect as the conflicted Hally. His emotional outbursts and humiliating attack on Sam are painful and as stunning to see as were hearing the audible gasps of the audience at the performance I saw.

Brown, a fine actor whose performances were notable in two other Fugard plays previously presented at the Signature - “The Painted Rocks at Revolver Creek” and “The Train Driver” - brings a restrained sense of dignity to his role as he recoils from Hally’s taunts. At first devastated, then as if strengthened by some inner self awareness, he rallies and becomes a man in possession of his soul.  

Ngauhah, who wowed audiences with his performance in the title role of “Fela!,” is especially interesting to watch as Willie, a man whose tempered vulnerability becomes painful to witness as he sees the ones he loves the most sever the ties that have bound them. I may have some quibbles about the amount of expositional information that Fugard offers to set the stage for the explosive denouement in his ninety minute play. Overall this is a play of hope written with extraordinary power and insight by a playwright who has brought true distinction to the Broadway and Off Broadway stage for over fifty years.

“Master Harold...and the Boys”

The Irene Diamond Stage at the Pershing Square Signature Center, at 480 W. 42nd Street.

"Holiday Inn" at the Roundabout Theatre Company Studio 54

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Corbin Bleu, Lora Lee Gayer, Bryce Pinkham and Ensemble (Photo: Joan Marcus)

It is safe to assume that there is always a little trepidation, some anxiety and perhaps even worry that a stage adaptation of a modest classic film musical will run the risk of being not only patently quaint but also seriously out-of-touch with life as we know it. Put aside your fears as the 1942 film musical “Holiday Inn,” with its wondrously melodic score by Irving Berlin, has been beautifully restored/re-envisioned by director Gordon Greenberg and co-writer Chad Hodge for the Roundabout Theatre Company. To be sure, there is a quaintness to the basic and barely credible story that has been updated to post World War II. But there are just enough infusions and inferences with a contemporary resonance that will appeal to young audiences who may not be bringing along the nostalgia that will inevitably come with older audience members.

The plot follows the travails of singer Jim (Bryce Pinkham) after he has a parting of the ways with dancer Ted (Corbin Bleu) his b.f. and professional partner. Jim decides to give up showbiz for a less stressful life buying and maintaining a working farm (really?) So what is a smart but desperate guy to do when the crops fail and the mortgage is due? Of course, he turns to his terping and chirping Broadway pals for help in transforming the dilapidated homestead into a snazzy retreat with entertainment....but only on the holidays (really?) Jim gets a little help and more than a little romance from former farm owner and school teacher Linda (Lora Lee Gayer) whose former aspirations of a career in the theater are suddenly re-kindled.

Pinkham sings beautifully and is again displaying the disarming and attractive qualities that made us root for him in “A Gentleman’s Guide to Love and Murder.” Bleu is a real find for those of us who don’t know him from “High School Musical” and “Dancing with the Stars.” As the sweetly rakish Ted, Bleu rips up the stage with his exuberantly stylish dancing to “You’re Easy to Dance with” and literally creating fireworks with “Let’s Say it with Fireworks.” The absolutely beguiling, multi-talented Gayer is a delight as Linda. Her silvery soprano and lovely presence is deftly deployed in song and dance throughout the show.

The best part of this sunny feel-good show is the abundance of tuneful Berlin songs, some of which are not in the original film. “Easter Parade,” “Happy Holiday,” and “White Christmas” are now joined by “Blue Skies,” “Heat Wave,” “Shaking the Blues Away,” “It’s a Lovely Day Today” and more treasures from the Berlin songbook.

With all those great songs, also be prepared for some great and inventive dancing. Choreographer Denis Jones is full of surprises using an assortment props and special effects (they should be surprises) that bring to mind some of the imaginative dance numbers created by filmdom’s Busby Berkeley. It won’t be long into the show before you are shaking your blues away with a splendid cast that has captured the era, the time and place with the same panache as has set designer Anna Louizos and costume designer Alejo Vietti. . .oh, those Easter bonnets! 

Standout among the supporting cast are Megan Lawrence as the smart-alecky resident handywoman, Megan Sikora as Ted’s sassy and brassy blonde fiance and dancing partner, and the terrific young Morgan Gao who is making his Broadway debut as the delivery boy. But it’s director Greenberg and choreographer Jones who have delivered the real goods. "Holiday Inn" is undoubtedly the most gloriously gift-wrapped holiday treat on Broadway. 

"Holiday Inn" 

Roundabout Theatre Company Studio 54, 254 West 54th Street 

Through January 15, 2017