Indecent - Playhouse on Park

 

The play Indecent, receiving a riveting production at Playhouse on Park, is inspired by the 1906 Yiddish play, The God of Vengeance, written by the Polish-Jewish playwright Sholem Asch.  The work was highly controversial at the time.  It showed the love of two women on stage, took place in a brothel, and characterized Jews as less than heroic figures.  Still, the production toured Europe and Off-Broadway to great acclaim in the early part of the 20th Century.  Its transfer to Broadway, however, was interrupted by the police who arrested the cast and producer for obscenity, for which they were found guilty.  The acting troupe, despondent, returned to their Polish homeland.  Desolate, with almost no money and food, the performers still managed to stage their show in an attic space with just a handful of people in attendance just as the Nazis moved in and, we assume, forcibly took them away.

 

It’s very easy to characterize Indecent as a Holocaust play.  However, the show is so much more.  Playwright Paula Vogel explores the question of what is art?  What is its purpose?  Sholem Asch sought to depict the Jewish people as real individuals, with moral and ethical dilemmas as opposed to the thrust of most writers of the day that only wrote more positive portrayals.  Ms. Vogel delves into the transformative power of the theater and the passion it produces among artists and the audience.  This zeal is fervidly embodied by the character of Lemml, a poor tailor who’s life is forever changed by his introduction and continued involvement with productions of the play.

 

Ms. Vogel, a Pulitzer Prize winning playwright (How I Learned to Drive), adeptly breathes life into each character in the show.  She also effectively weaves into the framework of the play such of-the-moment issues as  Anti-semitism and censorship

 

The cast of Indecent is superb.  Playhouse on Park needs to be applauded for assembling such an outstanding group of actors.  Each of them perform multiple roles as they imbue their characters with sensitivity, pathos, and a joy for life and their art.  While the entire ensemble is notable, two members of the troupe deserve special praise.  Dan Zimberg plays Lemml, the tailor (and sometimes narrator), who’s devotion and adoration to The God of Vengence is boundless.  He is the heart and soul of the play.  Bart Shatto is impressive with the range of characters - primarily the older gentlemen - he depicts.  He infuses his portrayals with an emotional depth, dynamism and comic flair.

 

Director Kelly O'Donnell brings an assured hand to the staging of the show.  Scenes and characters flawlessly meld together, making the intermission-less production move forward with swiftness and aplomb.  She seamlessly incorporates Katie Stevinson-Nollet’s vibrant bursts of  choreography as well as the musical numbers under the Direction of Alexander Sovronsky and Jeffrey Salerno’s Sound Design.  Her use of Supertitles are easy to read and provide just the right amount of assistance in telegraphing scenes.

 

Johann Fitzpatrick’s Scenic Design is simple, yet fluid, helped immensely with Joe Beumer’s varied Lighting schemes.  Izzy Fields’ Costume Design is at its best when evoking the garb of Eastern Europe at the turn of the century.

 

Indecent, another bravo production from Playhouse at Park in West Hartford, running through February 26.  Click here for dates, times, and ticket information.

 

 

A Beautiful Noise - Broadway

Creating an entertaining, captivating Broadway jukebox musical on the career of a single performer is a difficult proposition.  Successful productions have been Beautiful - the Carole King Musical and the current MJ (Michael Jackson) - the Musical.   Why?  They include full-fledged secondary characters that help augment and strengthen the storyline.  There are also compelling and dramatic moments in the life of the artist portrayed on stage that draw in the audience.  The absence of these two points is why the Neil Diamond musical, A Beautiful Noise, falls short.

The matter-of-fact story, penned by Anthony McCarten, begins with an empty stage.  A therapy session is about to begin between an aged Neil Diamond, played with a somber intensity by Broadway veteran Mark Jacoby, and a female psychologist.  At first resisting any inner reflections, the singer/songwriter finally relents.  From there, the musical opens up.  The older Neil and his therapist remain on stage for much of the show, periodically re-entering the production to comment and help connect scenes.

We follow the young, inexperienced musician looking to sell his songs as his supportive, pregnant wife cheers him on.  He eventually meets songwriter/producer Ellie Greenwich, who jumpstarts his writing and performing career.  We witness his production deal with a Mafia related record company. While performing at the Greenwich Village nightspot The Bitter End, he meets Marcia Murphy, who becomes his second wife and all-around cheerleader.  In the end, through marital troubles and inner doubts, Neil Diamond succeeds in climbing the ladder of fame and fortune.  He also has a satisfying epiphany from his counseling session.

There is very little drama from Neil Diamond’s career that librettist McCarten can exploit.  Besides the character of Marica Murphy, portrayed with vitality and dedication by Robyn Hurder, there are almost no interesting individuals that intersect with his life.  Instead, Director Michael Mayer has gussied up the story with an ensemble of dancers that look to enliven even the plainest of scenes.  Most times, the choreography by Steven Hoggett leaves you scratching your head.  Unfortunately, they serve more as a distraction rather than an attraction.  David Rockwell’s Scenic Design is more minimalistic with touches of grandeur as witnessed by the over-the-top rising platform that closes Act I.

The songs of Neil Diamond are the true gemstones of A Beautiful Noise.  Will Swenson gives a very credible performance as the pop/rock star.  The actor brings an innocence, yet fervor and dedication to the Rock ‘ Roll Hall of Famer.  He delivers dozens of the showman’s hits from the 1960’s through the 90’s with energy and passion.  I preferred the early hits highlighted in Act I.  They include “Cherry, Cherry,” “Solitary Man,” “Cracklin' Rosie,” “Song Sung Blue,” “I Am... I Said,” “Holly Holy,” “Kentucky Woman,” and, of course, the crowd-pleasing “Sweet Caroline.”

A Beautiful Noise, a disappointing entry into the crowded jukebox musical field.

Espejos: Clean - Hartford Stage

 The concept of the Hartford Stage play, Espejos: Clean, makes for intriguing, if not always compelling theater.  The two-character show employs Supertitles (translations displayed about the performance space) whenever one of the performers speak.  Adriana is the manager of a group of cleaning staff at a Mexican resort in Cancun.   Her dialogue is entirely in Spanish, with English Supertitles.  Sarah is a single white woman from Vancouver who is the Maid of Honor at her younger sister’s destination wedding.  Her inner thoughts and interactions with Adriana are in English with Spanish Supertitles.  While lending a degree of authenticity to the characters the Supertitles can be problematic as they necessitate quick reads in order to also appreciate the acting below on stage.

The two protagonists are usually on stage by themselves.  The plot focuses on Adriana, her humble backstory and struggles, primarily the death of her father and skirmishes at work.  Sarah, a party-hardy young woman, is not always reliable and more of a headache for her unseen mother and sister.  Eventually, their paths cross, sparking a series of revelations, truths and reckonings that, in the end, are reworkings of well-worn territory. 

Playwright Christine Quintana’s work, at its core, is of female empowerment.  The women are damaged individuals that, nonetheless, discover their strengths and passions during the week-long time frame.  Ms. Quintana utilizes inner monologues and dream sequences to help shape her characters and situations.  For myself, as someone who speaks English and only a little Spanish, the dual language approach works best in painting a vivid picture of Adriana.  Her character comes across as credible and substantial.

Emma Ramos gives her portrayal of Adrianna a richness and believability that anchors the production.  She is an emotional whirlwind as she juggles personal demons and professional demands.  Kate Abbruzzese imbues Sarah with a daftness and irksome manner that is both irritating and ingratiating.  The actress is convincingly volatile and demonstrative in her actions and demeanor.  There is also a solid on-stage chemistry between the two women.

Director Melissa Crespo seamlessly moves the performers on and off the stage.  Working with Lisa Renkel’s superb Projection Design, she beautifully creates different locales and scenarios.  The concern with two character plays is keeping the production vibrant and full of movement.  Ms. Crespo successfully overcomes these issues, ably assisted by Mariana Sanchez’s highly evocative two level Scenic Design, Colleen Doherty’s shimmering Lighting Design and the, at times, thunderous Sound Design by Daniela Hart & UptownWorks.  While there is no easy answer in solving the Supertitle problem, it is something that should be reviewed for future productions.

Espejos: Clean, playing at Hartford Stage through February 5.  Click here for ticket information, dates and times.

Review of "Come From Away" - Bushnell Center for the Performing Arts

The musical Come From Away, playing at The Bushnell Center for the Performing Arts through December 24, is one of my all-time favorite productions.  It is an emotional rollercoaster that is sorrowful, uplifting and, yet, full of humor.  Using the backdrop of 9/11, the musical celebrates the immeasurable capacity of individuals from different backgrounds to come together in dire times.

 

Come From Away begins in the small town of Gander, in the Province of Newfoundland.  A normal day quickly turns topsy-turvy as dozens of flights from around the world are suddenly diverted to their semi-used airfield when the United States airspace is closed after the 9/11 attacks (Before the jet age, Gander was the central refueling depot for planes crossing the Atlantic).  Overnight the population of the quaint Canadian town grew from 9,000 to 16,000 people.

 

The musical relates how the townspeople and “plane people” reacted, adapted, and came together over a five-day period before they could fly back home.  We become swept up by the personal stories of the passengers and the incredible acts of kindness and sacrifices by our northern neighbors.

 

Librettist Irene Sankoff and David Hein have crafted a well-structured narrative where each cast member portrays a multitude of roles.  The book writers focus on the determination of everyone to make an unthinkable and untenable situation work.  The optimistic attitude is a central theme of the show.  The show is heartening and inspirational, never maudlin or depressing.  Yes, there are tears, but tears of joy as well as of pain and anguish.

 

The score. also by Irene Sankoff and David Hein, is a mix of haunting and soul-searching compositions and exuberant melodies that elatedly reverberate throughout the theater.  Tinged with the Irish roots prevalent in the northern Canadian province, they are almost all ensemble pieces.  The songs are performed by a tight knit, boisterous band that would be welcome at any Emerald Isle drinking establishment.

 

The ensemble cast blends so well together.  They are full of individuals you would find at any main street diner.  They exude their own can-do spirit as they forcefully take hold of the material with a dynamism and drive that is heartfelt and genuine.  If there was a Tony Award for Best Ensemble, Come From Away would have been the hands down winner.

 

Director Christopher Ashley does a superb job staging the show.  He has taken the spare Scenic Design by Beowulf Boritt, which utilizes just tables and chairs, to serve a variety of functions.  A smart choice.  Anything more elaborate would have lessened the pace of the show and tethered our imagination.

 

Ashley keeps the pacing quick without rushing the storyline. Under his guidance, the transformation of the actors and actresses from one character to another is skillfully executed.  Gratifyingly, the overall effect allows the audience to slowly absorb the impact of what is happening without a preachy or moralistic tone.  The integration of the musical numbers, under the musical staging of Kelly Devine, is organic, developing naturally and mirroring the action on stage.  The dancing is buoyant and lively and reflects the down-to-earth nature of the townsfolk.

 

Come From Away, an absorbing and moving musical not to be missed.  Click here for dates, times, and ticket information.

Review of "Christmas on the Rocks" - Theaterworks Hartford

It’s been a few years since I ventured out to Theaterworks Hartford’s annual December production, Christmas on the Rocks.  I’m happy to report that it is still a comedic delight.  For the uninitiated, the 100 minute, intermissionless show consists of eight short playlets by seven writers.  Each vignette takes a decidedly off-beat riff on such holiday classics as the movies “It’s a Wonderful Life” and “A Christmas Story” and the cartoons “Frosty the Snowman” and “Rudolph the Red-Nosed Reindeer.”  The Elf on the Shelf makes an appearance as does an older, world-weary Charlie Brown.  The whimsical tales take place at a corner bar that has seen better days.  The proprietor, Isaac, gamely interacts with each of the characters that invade his pub on a quiet Christmas Eve.

 

Each scene, which sometimes borders on bawdy, raunchy humor, has its moments of amusement, with many triggering howls of laughter.  The first four of the storylines were entertaining and brought smiles to my face:  “A Miserable Life,” by Jacques Lamarre, focuses on an adult ZuZu Bailey who is freaked out by the sound of bells. “All Grown Up,” written by John Cariani, introduces us to Ralphie and his peculiar attraction to pink fluffy objects. “My Name Is KAREN!,” by Jenn Harris & Matthew Wilkas, spotlights an older, semi-psychotic Karen and her unhealthy relationship with Frosty. “Say It Glows,” by Jeffrey Hatcher, merrily flips through the gay elf Hermey’s frosty relationship with Rudolph. 

 

However, the latter half of the show is the production’s strength.  “Snitch,” by Jenn Harris, is a hilarious homage to every child’s fear - the all-knowing Elf on a Shelf.  “Drumsticks and Chill,” penned by Judy Gold and Jacques Lamarre, successfully combines the telling of the Hanukah story by a half-baked Little Drummer Boy with a serious note on anti-semitism.  The hilarity of “Still Nuts About Him,” by Edwin Sánchez, is courtesy of the actress Jen Cody who’s comedic nuttiness and acrobatics as Clara from The Nutcracker, brings down the house.  “Merry Christmas, Blockhead,” by Jacques Lamarre, has always been my favorite.  An older, seemingly defeated Charlie Brown comes into the bar to bare his soul. What begins as a very humorous scene turns poignant and hopeful.  

 

Christmas on the Rocks is powered by three very talented performers.  Ted Lange, known for his long time role on TV’s The Love Boat, plays the unwitting bartender. The actor, with his laid back manner and impish grin, is the perfect straight man who welcomes the assorted characters into his modest establishment.  Harry Bouvy and Jen Cody, rotate through every scene, playing all the zany roles.  They are both superb performers.  Bouvey is wonderfully adept playing multiple types of characters - a down-on-his luck former child movie star, a stoner musician, an over-the-top very merry elf, and the epitome of woefulness, Charlie Brown himself.  Jen Cody brings a unique physicality to all her roles.  She is a fearless performer and gifted comedic talent whose antics cascade into waves of laughter from the audience.   

 

Director Rob Ruggiero assuredly guides the show he conceived and has staged for the past ten years.  One scene flows comfortably into the next on the quaint, richly detailed set designed by Michael Schweikardt.  Since I last saw the play, Ruggiero has expanded the use of technology, incorporating video projections, which enhance some of the scenes.  He has also added simple, but highly effective sight gags such as the cartoonish gait of Charlie Brown.  John Lasiter’s clever Lighting Design bolsters a number of the stories.  Alejo Vietti’s Costume Design and J. Jared Janas’s Wig Design provide splendid visual cues. 

 

Christmas on the Rocks, a worthy, different kind of holiday treasure, playing at Theaterworks Hartford through December 23.  Click here for information on tickets, dates and times.

Review of "Kimberly Akimbo"

The musical Kimberly Akimbo can be described as quirky.  Quirky in a good way.  The show, a big hit Off-Broadway last season, has made a successful transfer to Broadway without losing its more intimate quality and eccentric feel.  Based on David Linday-Abaire’s 2001 play of the same name, the story revolves around Kimberly, a high school teenager suffering from a rare disorder that causes her to age four times faster than normal.  Looking more like a senior citizen, the actress Victoria Clark gives a bravo performance as the young adult.  After just a few minutes on stage you wholeheartedly believe her portrayal of Kimberly.

 

The story takes place in the North Jersey suburbs.  Kimberly, a smart 16 year old, lives with her slacker, undependable parents, Buddy (Steven Boyer) and Patti (Alli Mauzey).  At times, she seems to be parenting them.  Kimberly is not part of a group or clique until she falls in with a band of fellow outsiders, most notably Seth (a winning Broadway debut by Justin Cooley), who manages the local ice rink, plays the tuba and has his own dysfunctional home life to contend with.  Life is looking up for Kimberly and her friendship with Seth until the appearance of her aunt Debra (Bonnie Milligan) turns everything topsy-turvy.  She is a hopeless schemer and crooked individual always in the thick of chaos.  While creating upheaval at her sister Pattie’s and brother-in-law Buddy’s home, she recruits Kimberly and her pals for a sure-fire scam to enrich herself and the teens.  In the end, everyone, well, mostly everyone gets a big payoff.

 

What makes Kimberly Akimbo work is its skillful mix of goofiness, heartache and poignancy.   Director Jessica Stone guides the show with an assured hand and clever decisions, allowing the musical’s humor and honesty to shine brightly.  David Zinn’s multiple sets bolster the quality of the show without overpowering the production. Choreographer Danny Mefford sprinkles some sprightly dance numbers throughout the production only when they make sense for the show.  The ice skating number is a considerable standout.  Librettist David Lindsay-Abaire celebrates uniqueness and unconventionality with a playful joyfulness.  There is a serious undertone to the show as characters make decisions about the direction of their lives.  What could have been a real downer of a show ends on an uplifting high note.

 

The composing team of Jeanine Tesori (music) and Lindsay-Abaire (lyrics), whose previous collaboration was Shrek - the Musical, have crafted a score that fetes individualness and fun.  The songs, tuneful and jubilant, cleverly help further the plot and character development.  Standouts include the tenderly amusing “Anagram,” the self-revelatory belter “Better,” and the rejoicing Act I closer “This Time.” 

 

The entire cast, a carryover from the Off-Broadway run, fits smoothly and comfortably into their roles for the Broadway run.  Victoria Clark’s portrayal of Kimberly is so beautiful and touching, adding a splash of spunk.  Look for her at Tony time.  The young actor, Justin Cooley, gleefully infuses Seth with a hopefulness that is at times heart-rending and empowering.  Bonnie Milligan’s Debra gives new meaning to crass and endearment, with a screwball twist.  Her delightfully inept shenanigans power the show forward.   Steven Boyer’s Buddy and Alli Mauzey’s Patti give daffy performances that are tinged with unfulfillment and regret.   The gaggle of high school students - Olivia Elease Hardy, Fernell Hogan, Michael Iskander, and Nina White - are a fine group of up-and-coming actors, unflinchingly proud of themselves and their abilities.

 

Kimberly Akimbo may lack the firepower and pizazz of large-scale Broadway productions but is, nonetheless, a wholly satisfying musical theater experience.

 

Review of "The Brightest Light in the World" - Yale Repertory

Relationships can be joyful.  They can be tough.  And messy.  In playwright Leah Nanako Winkler’s sufficing world premiere, The Brightest Light in the World, we are introduced to two women in their early 30’s.  Lane (Katherine Romans), outgoing and inquisitive, runs a bakery in Lexington, KY.  Steph (Michele Selene Ang), more reserved, is a daily customer.  In a series of quick scene resets, playfully staged by Director Margot Bordelon, the women strike up a friendship that develops into a tentative, then all-in romantic connection.  After their first blissful night, entrenched and difficult revelations are disclosed, with the thrust being Lane’s battle with drug addiction.

 

Through their trials and tribulations, they manage to forge ahead with their relationship.  Lane’s sister, Della (Megan Hill) - motivator, friend, big sister, mother figure - is always around as she deals with her own life issues.  Ultimately, the pull of addiction proves, maddeningly, too much for all involved, leading to anguish, bitterness and pain.

 

Ms. Winkler has penned a show that mixes humorous bantering with poignant heartache.  Her characters are slightly askew, lost, trying to find their purpose and place in society.  The playwright’s portrayal of drug addiction is multi-faceted and not, as she states in the program notes, “like the typical awards-bait portrayals of ‘addicts’ we have all seen in film, tv and theater.”

 

There is a lot of talk as the 100 minute, intermission-less show moves forward.  Director Bordelon, looking to vary the dramatic arc of the story, incorporates such devices as wild dancing, to minimal effect. The considerable amount of speechifying and at times spirited, but more often, conventional interplay between the characters doesn’t always provide dynamic theater.

 

The three actors - Katherine Romans (Lane), Michele Selene Ang (Steph), Megan Hill (Della) - have a solid, believable chemistry.  Sometimes they are overly expressive and loud, but these are sensitive, somewhat damaged individuals.  Ms. Bordelon, rightfully so, occasionally steers the portrayals in an over-the-top manner as a statement of the character’s exultations to the heavens that they are vibrantly alive.

 

Scenic Designer Cat Raynor’s sets of the bakery and Della’s living room are handsomely detailed.  Lighting Designer Graham Zellers’ twinkling skyscape adds a meditative quality to the production. 

 

The Brightest Thing in the World, playing at the Yale Repertory Theatre through December 17.  Click here for dates, times and ticket information.