News
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April 24
Do you love an old-fashioned, high spirited, tap dancing romantic musical
with some really great performers and an airy, imaginative Deco set (by
David Gallo)? Take a trip to New York in 1922 and THOROUGHLY MODERN MILLIE.
You'll have a good time. It's a light, breezy, no surprises romp, with
a crisp, perky Millie, Sutton Foster, who really puts over a number, a
beautiful (in voice, face and physicality) second lead, Angela Christian,
a very comic Harriet Harris, and the amazing Marc Kudisch, in a purple
suit, who blazes onto the stage lighting up the theatre with his presence,
energy, great voice in Gilbert and Sullivan patter, in Victor Herbert,
and whatever else they throw him, with perfect comic timing and a twinkle
in his eyes. Choreographed by Rob Ashford with panache and zip, with zany
costumes
by Martin Pakledinaz, fine lighting by Donald Holder, directed by Michael
Mayer with proper tongue-in-cheek, MILLIE is a fun evening for those whose
cup of theatre is the genre of "42nd Street."
***1/2 Richmond Shepard
Performing Arts INSIDER
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April 22
XTRAVAGANZA, now running at St Ann's Warehouse `in "Dumbo,"
in Brooklyn, between the Brooklyn and Manhattan Bridges (718/858-2424),
is a dazzler. It's the history of big spectacular shows and theatrical
inventions in Europe in the 1800's thru Flo Ziegfeld on Broadway and Busby
Berkeley's kaleidoscopic visions in the movies. Buffalo Bill's Wild West
Show to the
thump of an electronic drum, The Chicago World's Fair to a rock beat.
Actors against a blue screen projected onto century old street or film
backdrops with a New Age sound, some numbers, like "Blue Rose,"
with a surreal expressionistic feeling. The story line is directly from
"42nd Street," and satirical dialogue is a step behind the visuals
of this multi-media show, but the company, The Builders Association, directed
by Marianne Weems, has given us a better mousetrap- beat a path to their
door.
**** Richmond Shepard
Performing Arts INSIDER
Ibsen's JOHN GABRIEL
BORKMAN at the Century Center, is a colossal bore. Poorly translated,
poorly acted and directed, this rendering of Ibsen's eleventh play will
send it right back into the oblivion in which has languished for some
time.
* Richmond Shepard
Performing Arts INSIDER
BLUE SURGE by Rebecca
Gilman at The Public theatre, is a rare bird: a first rate working class
drama. It's a hot, very funny, contemporary comedy, perfectly cast: Rachel
Miner, Joe Murphy, Colleen Werthmann, Steve
Key, Amy Landecker, directed with energy and great timing by Robert Falls,
well designed by Walt Spangler, costumed by Birgit Rattenborg Wise and
lighted by Michael Philippi. The people are proletariats: cops, hookers,
the uneducated working class (except for a middle-class girlfriend of
one of the cops as a contrast in aspirations), people with a simple earthy
sensuousness, with limited imagined possibilities, and no solutions. Odets
isn't writing today, but Gilman's concerns about the frustrations of people
trying to (perhaps) surge upwards, might be his, and Falls' flair keeps
the audience riveted.
**** Richmond Shepard
Performing Arts INSIDER
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April 12
FORTUNE'S FOOL, Turgenev's mid-nineteenth century play is more of a valid
drama for today than most plays written in the last decade. There are
people on the stage with deep feelings, deep inner pain, ultimately in
a moral dilemma, played brilliantly by two of today's finest actors, the
great farceur Frank Langella and the amazing Alan Bates, who gives us
long
monologues without a moment that isn't fascinating. What a privilege to
see a master like Bates play a character who declaims while getting progressively
drunker- it's one of the all time great drunk scenes. You feel for him,
his anguish, and marvel at his performance. And Langella, a world class
snidemaster, balances the stage with his hilarious, serious hauteur. A
bravura performance. Enid Graham as the young wife and George Morfogen
as a friend are fine, but the rest of the cast is uneven, with Benedick
Bates miscast (or perhaps misdirected in Act 1) as the young husband.
I counted seven different accents, several physical styles. Director Arthur
Penn either
put all his effort into the two masters, Langella and Bates, or perhaps
let them alone to do what they know how to do- be powerful presences on
the stage who can make their characters blaze with a theatrical light.
The work of John Arnone- sets, Jane Greenwood-costumes, Brian Nason-lighting,
is all first rate. Don't miss this show- you won't see its like very often.
**** Richmond Shepard
Performing Arts INSIDER, and Lively-Arts.com
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April 11
TOP DOG/UNDERDOG by Suzan-Lori Parks starts with incomprehensible babble,
and segues into comprehensible babble. More of a vaudeville turn with
two terrific actors than a play, it gives us brothers named Lincoln and
Booth, with Booth (Mos Def) the verbal one, the rapper, as a petty thief,
and Lincoln (Jeffrey Wright), a black man playing Lincoln in whiteface
in a carnival, the physical comedian. Wright's mimimg is super, especially
as he drunkenly shows Lincoln being shot several ways. As an entertainment,
it can be fun for an audience that understands the jive lingo. Others
stared in blank noncomprehension at the verbal barrage and the antics
of the brothers as they drink and talk shit. Although the performances
were quite good, and the direction of this non-play by George C. Wolfe
probably fulfilled the author's vision, I didn't find the analogy profound,
the show particularly moving, or the theatrical experience as a whole
worth a full evening's attention.
** Richmond Shepard
Performing Arts INSIDER, and Lively-Arts.com
THE GRADUATE is a
hoot. Kathleen Turner's star turn is in the best Bankhead mode, and her
impeccable timing brings a heartfelt laugh to every punchline in this
fun from start to finish comedy. We know what's going to happen in this
tale of seduction and first love, and this play's success is all in the
telling. Adapted and directed by Terry Johnson, with a brilliant sense
of what real comedy is, and long knowledge of whom to cast in the leads,
the show totally succeeds. Jason Biggs and Alicia Silverstone, both movie
stars, bring major comedy talent to Broadway. Let's hope they stay, and
come again. The paneled set by Rob Howell is a bold original departure
from the ordinary that works perfectly for this fast moving play, as do
his costumes and Hugh Vanstone's lighting. The supporting cast are all
excellent, but the three stars carry the night- and beautifully-- extending
themselves into comic portraits that are both exaggerated and real.
**** Richmond Shepard
Performing Arts INSIDER, and Lively-Arts.com
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April 03
I still remember the headlines in 1946 about the reclusive Collyer Brothers
whose apartment was so full of papers and junk that it took sixteen days
to find the body of one of them buried under the debris. Richard Greenberg
has imagined their neurotic, and eventually psychotic, life from 1905
when the
reclusion begins to their death in '46 in his engrossing play THE DAZZLE.
Peter Frechette and Reg Rogers as the brothers have each created character
idiosyncrasies that make the ordinary fascinating.
What could be mundane is turned into witty, almost Wildesque, banter in
the hands of these two skilled actors and the lovely Francie Swift as
the sole intrusion into their lives. Greenberg's imagination and sense
of humor set the play in motion, exposing the peculiar relationship between
the brothers, and although it extends a bit long on the downhill turns
in the end phase, as they deteriorate, THE DAZZLE remains riveting. It's
really good theatre by fine actors in just the right costumes by Gregory
A. Gale,
played on an amazing set by Allen Moyer with proper lighting by Jeff Croiter,
all tied together by the sure hand of director David Warren.
*** 3/4 Richmond Shepard
Performing Arts INSIDER
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