"True West" Opened January 24, 2019 at the Roundabout Theatre Company at American Airlines Theatre

Ethan Hawke and Paul Dano
Photo credit: Joan Marcus


What is it about Sam Shepard's “True West” that packs a wallop each and every time I see it -- and that is four times if memory serves? Thank goodness I have kept my journals and notes going back to the 1980s for an occasional reference or simply a nostalgic rainy-day trip down memory lane. The first time I saw it was in 1980 at the Public Theater. It was a troubled production that disturbed its author sufficiently for him to disassociate himself from it. Troubled as that production may have been, even with the accomplished performing of Tommy Lee Jones and Peter Boyle as the alter-ego-ing brothers, it was an occasion that proved to be unforgettable for me. I realized with all the presumed troubles that it was an important work.
 

So how did that stack up against the Steppenwolf production that transferred in 1982 from Chicago to the Cherry Lane Theatre with its stars Gary Sinese and John Malkovich? And what about the play’s long-awaited Broadway debut in 2000 with the amazing Philip Seymour Hoffman and John C. Reilly who alternated the roles of the brothers? That version was acknowledged (also by me ) to have delved deeper into the play’s metaphysical core. So here we are in 2019 with a perfectly fine Roundabout Theatre production under the direction of James  Macdonald with Ethan Hawke, as Lee and Paul Dano as Austin.

Whether or not you acknowledge “True West” as the peak in Shepard’s impressive but notably unconventional canon, its story about two brothers who bait each other and then brutally battle each other is one of the more bizarre demonstrations of metamorphosis that the stage has seen. Shepard grittily dramatizes the creative process at work at its most primitive and humorous level. This humorous level is the one that seems to have captured the imagination and the interest of its players and directors over the years. Without losing the intensity of the plot’s meticulously crafted trajectory and without losing the play’s scrutiny of its characters, director Macdonald and his two stars Ethan Hawke and Paul Dano can be praised for the way the brothers’ inner demons appear exposed and vulnerable. 

An apparent slob and ne’er-do-well, except for some strong ethics regarding truth and honesty, Lee (Ethan Hawke) has returned after a five-month sojourn in the Mohave Desert to his mother’s house in a California suburb. Austin (Paul Dano) has been entrusted to stay at home and water their mother’s plants while he works on yet another pedestrian screenplay -- one he is trying to peddle to an apparently interested producer. Austin’s more clinical/pedestrian approach to his work is seen in direct conflict with Lee’s obsession to challenge his brother on his own turf. 

The sudden disruptive and often violent invasion of Austin’s world, and the eventual reversal of powers as Lee manipulates the clearly opportunistic film producer Saul Kimmer (a credible Gary Wilmes) leads to a struggle for power fraught with boozing, brawling and a general devastation of the home. As the donnybrook progresses so does the decimation of almost everything the brothers can get their hands on -- crushed beer cans, dinnerware, and appliances. Congrats to set designer Mimi Lien’s responsive kitchen-plus setting that takes the obligatory abuse in its stride. 

The now almost classic “pop-up toasters” scene is given all the latitude it needs to be ferociously funny. It’s almost difficult to recognize the bearded and slovenly dressed Hawke. This much lauded stage and film star succeeds brilliantly as the menacing, devilishly seedy Lee. In stunning contrast is Dano’s passive-aggressive performance as Austin -- from a slow burn into an inferno. Good work. Act II has the pleasure of having the always terrific Marylouise Burke portray Mom. Whether this is the true-est west of them all is debatable but as entertainment it is a winner.

“Choir Boy” Opened January 8, 2019 at the Manhattan Theatre Club at The Samuel J. Friedman Theatre

Jeremy Pope and members of the cast
Photo credit: Matthew Murphy

Tarell Alvin McCraney's “Choir Boy” premiered at the Manhattan Theatre Club’s Stage II in 2013. It is now in revival with extensive rewrites (according to the press department) in a new and impressively staged production on MTC’s main stage at the Samuel J. Friedman Theatre. The play remains compelling if still over-written and repetitious during its one hundred minutes. 

We may recall how Tom Brown bravely withstood the bullying of upper classmen during his "School Days" and how Tom Lee overcame the stigma of being a social outcast at the private school he attended with a little "Tea and Sympathy" from the headmaster's wife. Now it is for Pharus Jonathan Young (Jeremy Pope, recreating his role), the central character to stand up for who he is at the private all-black prep school that he attends.

But just how prepared for him is this prominently religious, educational institution that has yet to condone or even acknowledge sexual diversity? Although the first disarming appearance by Pharus is positioned to encourage both affection and a little benign laughter, it is the use of the "n" word by a peer as the play progresses that brings a controversial if not double standard into the fray. It is interesting to consider how little reaction came from the audience at the performance I attended this week. That, in contrast to the oohs I heard before.

Of course there is a difference when that word is used by a white person to denigrate someone who is black. It is here embraced by African-Americans who have branded it liberating by taking on its ownership in order to neutralize its original intent. What essentially isn't yet embraced as acceptable by the school's administration or its students is Pharus's sexual identity or his commendable ownership of it.
 

Our attention and interest in the talented Pharus is immediate as he steps forward to sing the traditional school song at a commencement exercise in a manner that is both stunningly effeminate and potentially incendiary. Although Pharus is the talented lead singer of the choir as well as an outstanding student, he has no intention of downplaying either his personality or his mannerisms to the disapproval of the school's head master and especially to the discomfort of his peers with whom he is obliged to get along.

The play's cleverest device is the use of Gospel music as sung a cappella at choir rehearsals as well as to punctuate dramatic scenes. The contribution made by musical director and vocal arranger Jason Michael Webb warrants high praise.
Premiered to acclaim in September 2012 at London's Royal Cort Theatre “Choir Boy” has again been crisply directed in New York by Trip Cullman. Also returning is the terrific Chuck Cooper as Headmaster Marrow, the school's authoritarian headmaster, who is convincing as a man committed to maintaining the school's traditional core values and moral principles.

Another returnee is Austin Pendleton (at his most humorously intellectual) as a teacher of Creative Thinking. The characters of Marrow and Pendelton appear like dramatically accommodating stock characters that have been wedged into the dilemmas perpetrated by the more psychologically and sociologically complex band of students. They do serve, however, as sturdy bridges over the stormy seas.

Pharus's decision to stand his ground, even as he withstands heckling and the ugly remarks of the disdainfully homophobic Bobby (a sturdy performance by J. Quinton Johnson), the headmaster's nephew.

Pope is still giving one helluva performance as the flamboyantly gay Pharus who is, nevertheless, as discreet as possible about the way he feels about his compassionate but straight roommate Anthony (a strong and sensitive performance by John Clay III.) There is an insightful scene in which Pharus locks historical and political horns with the other boys in Pendleton's classroom over whether or not escape routes were coded into the early spirituals. Pharus also serves as catalyst for the play's most poignant episode involving the quiet and unassuming David (a splendid Caleb Eberhardt) who may have to do some serious soul searching after an unfortunate encounter that fuels the climactic minutes of the play.

Director Cullman, who recently earned praise for his direction of “Lobby Hero” and “Six Degrees of Separation,” has again mined splendid performances from everyone. Set designer David Zinn has presumably more space now to create the  various locations in the school, particularly the boy's lockers and shower room and the dorm that emerge impressively from behind a wall.

“Choir Boy” will surprise those expecting the same kind of hyper-stylized dramatic form that defined McCraney's more pretentiously conceived “The Brother/Sister Plays” that catapulted him to prominence and a plethora of awards including an Oscar for Best Adapted Screenplay for “Moonlight” (adapted from his own play.) What distinguishes “Choir Boy” is its unusual and provocative central character, a young man who takes delight in himself and in defense of his sexual identity. It may prove to be an obstacle for him in creating harmony with the voices of people who may be able to shout out the n-word, but find it difficult to proclaim liberation from outdated sexual mores.

Mostly overcoming the lyrical verbosity of the text is the sheer dramatic and musical power that essentially drives “Choir Boy.” It is a reasonable price to pay for a play with a notable voice and with voices worth hearing.

“The Other Josh Cohen” Opened at Westside Theatre, 407 W. 43th St. Nov. 12, 2019.

Members of the supporting cast
photo credit: Caitlin McNaney

Okay, so you missed this terrific show during its brief Off-Broadway run in 2012 and then perhaps missed it again when it showed up at your regional theatre. Well, don’t let this new opportunity to see this totally disarming musical entertainment pass you by. Why it remains relatively unknown beats me as it is a joyfully and artfully crafted musical play. The current and extended-run revival at the Westside Theatre is a winner in all respects. 

This is a small-scale farcical musical with a heart as big as the Valentine that plays an important role in this story -- call it an ode -- to a pathetic but lovable mensch Josh Cohen. He’s a guy who just can’t get a break, make a good living, or find the right woman.

It is the work of David Rossmer and Steve Rosen, who not only collaborated on the book, music and lyrics but also share the honor and rewards of playing the role(s) of Josh Cohen; that is as a past and a present Josh Cohen and often appearing together at the same time. Confused? Good. Because so is the disheartened Josh who can't understand why he is so unlucky in love and why his life seems to be nothing but a torrent of rejections and disappointments.

But while you may suspect, or perhaps already know, that this is a two-person show about one person, it actually has a slew of peripheral characters. They are amusingly portrayed by the five excellent on-stage musicians, each of whom also has the task to keep up with the many changes of wigs and costumes. The soft-rock score, by the way, is very likeable but mostly notable for its witty lyrics.  

The amazing news is that the collaborating, originating, leading Cohens are still being played by Rossmer and Rosen and that Kate Wetherhead (percussion and ”A Lot of People”, and Hannah Elless - Drums and “A Lot of Other People” are also back from the original company. They now share stage with also multi-talented Louis Tucci, Luke Darnell and Elizabeth Nestlerode who play a variety of instruments and also portray “The Rest of the People”. 

It is amusing to see how they populate the compact setting of a New York City bachelor apartment created by designer Carolyn Mraz to withstand the flow of traffic. Of course, it is virtually empty, or rather emptied. The audience arrives to see a hooded burglar already in the act of removing everything that can be carried, including a poster of Willy Wonka and the Chocolate Factory.

The only items left for Josh to find on his return are a Neil Diamond CD and an empty case of a porn video. We do see the band split on either side of the setting and ready to engage in the action as needed.

Key to the show’s bright and brisk tempo is director Hunter Foster who keeps the action flowing - - basically a series of short skits that progress through the mostly funny narrative as supplied by guitar-strumming Josh (Rossmer) and by the antics of the more pro-active Josh (Rosen). His actions reveal the plight of a very nice, morally upright, if maybe a tad too chubby, guy who is simply looking for love. But his future is suddenly changed by an unexpected letter. This leads him on an adventurous quest that contributes to a moral dilemma for Josh and as elaborated through the show’s various musical textures.

Much of the charm of this slender but totally satisfying musical stem from the easy rapport established between Rosen and Rossmer, who, both dressed identically in plaid shirts and jeans, interact as the same Josh, but with one year and one mustache separating them. Their affection for each other is as winning as our affection for their ninety minute creation.