Theater Reviews

Susan Granger’s review of “The Waverly Gallery” (Golden Theater)

 

What a joy to welcome comedy icon Elaine May back to Broadway and great to see young Lucas Hedges make his debut on the Great White Way. So it’s too bad that Kenneth Lonergan’s compassionate memory play is such a depressing disappointment.

Inspired by the death of his grandmother, it’s set in 1999 Manhattan with Lucas Hedges as Daniel Reed, the playwright’s surrogate, explaining to the audience that his grandmother Gladys (Elaine May) is suffering not only from hearing loss but also Alzheimer’s disease.

Once a formidable attorney and feisty left-wing activist, garrulous Gladys now runs a small art gallery adjacent to a Greenwich Village hotel, just off Washington Square. Patrons are few and far between, so when Don Bowman (Michael Cera), a down-on-his-luck painter from Massachusetts appears, she’s delighted to welcome him in.

“I like to help young people,” Gladys says. “All they want is a little chance. But they don’t have anyone to help them.”

Daniel is a speechwriter for the Environmental Protection Agency, although Gladys is convinced that he works for an influential newspaper, perhaps the New York Times.  He lives down the hall from Gladys in a nearby apartment building.

Although she lives uptown, Daniel’s exasperated mother Ellen (Joan Allen) bears most of the responsibility for Gladys during her declining years, aided by Daniel’s psychoanalyst stepfather, Howard (David Cromer). They all gather for a Wednesday night dinner that becomes more-and-more difficult.

At 86, Elaine May embodies Gladys’ pervasive vagueness and poignant verbal hesitancy, making her endearing and sympathetic – albeit infuriating – with Lucas Hedges, Joan Allen, Michael Cera and David Cromer giving stalwart support.

Making her Broadway directing debut, Lila Neugebauer (“The Wolves”) once again demonstrates how effective she is in guiding Lonergan’s overlapping dialogue. Unfortunately, the scene changes are far too long, even with Tal Yarden’s projections of New York street scenes, adding to an increasing tedium.

FYI: This melancholy play opened off-Broadway 18 years ago, long before Kenneth Lonergan won an Oscar for “Manchester By the Sea.” Eileen Heckart starred as Gladys with Maureen Anderman as Ellen; now, Maureen Anderman is standing by for Elaine May.

“The Waverly Gallery” plays through Jan. 27, 2019, at the Golden Theater.

 

Susan Granger’s review of “Thousand Pines” (Westport Country Playhouse)

 

George Bernard Shaw once said, “The single biggest problem in communication is the illusion that it has taken place.”

That certainly applies to Matthew Greene’s powerful new play which, while relevant and thought-provoking, is also very confusing for an unsuspecting audience.

What’s needed is an explanatory prologue or voiceover. Something to let the audience know that there are three scenes, all set in the dining rooms of three identical suburban tract houses on Thanksgiving Day  – with the same actors playing different characters in the aftermath a shooting massacre at Thousand Pines, the local junior high school.

As these disparate families – the Fosters, the Kanes and the Garrisons – cope with sudden loss and struggle with grief and guilt in the wake of an unimaginable tragedy, they discuss the reality, repercussions and reverberations of school safety and gun control, which affects every student, teacher and parent in today’s America because everyone is vulnerable and violence can erupt anywhere.

Director Austin Pendleton’s terrific ensemble consists of Katie Ailion, Anna Bates, Joby Earle, Kelly McAndrew, William Ragsdale and Andrew Veenstra – versatile actors in a multitude of roles.

This World Premiere runs at the Westport Country Playhouse through Saturday, Nov. 17.  For tickets, call 203-227-4177 or go to www.westportplayhouse.org – and note the enhanced programming events inspired by this play’s themes:

“Dealing with Loss and Fighting for Change in Response to Gun Violence” on Sun., Nov. 11

“Constitutional Context of Gun Laws” on Wed., Nov. 14

“#Unload: Aiming for Change,” a curated art exhibition in the Sheffer Studio Nov. 3-17.

 

 

Susan Granger’s review of “The Ferryman” (Bernard B. Jacobs Theater)

 

Ireland has one of the world’s richest story-telling traditions, perhaps because of the Celtic appreciation for the spoken word and the vivid use of poetic language.

Adding to that is Jez Butterworth’s compelling saga of the large, sprawling Carney family, set in the late summer of 1981 in rural County Amagh in Northern Ireland, as they prepare for the celebratory Harvest Feast.

There’s grain farmer Quinn Carney (Paddy Considine), his ailing wife Mary (Genevieve O’Reilly) and their seven children (ages 9 mos. To 16 years). Their multigenerational clan includes loquacious Uncle Pat (Mark Lambert), cranky Aunt Patricia (Dearbhla Malloy), dementia-addled Aunt Maggie Far Away (Fionnula Flanagan) and Tom Kettle (Justin Edwards), a dim-witted British boy who was abandoned at age 12 and has been the Carney handyman for the past 30 years.

Quinn’s brother Seamus, suspected of being an IRA informer, has been mysteriously missing for 10 years, so his wife, Caitlin Carney (Laura Donnelly), and brooding, teenage son Oisin (Rob Malone) live there too. That morning, the parish priest Father Horrigan (Charles Dale) delivers news that Seamus’ corpse has been found in a bog with a bullet hole in his skull.

During this politically tense period known as The Troubles, Republican inmates at Maze Prison are on a hunger strike, demanding recognition as political prisoners, which uncompromising Prime Minister Margaret Thatcher refuses to do. Plus there’s an unwelcome visit from local IRA leader Muldoon (Dean Ashton) and his henchmen (Dean Ashton, Glenn Speers).

As for the title, according to Greek mythology in Virgil’s Aeneid, the two kinds of souls that are refused passage across the River Styx by Charon, the Underworld ferryman, are the unburied and liars; in this case, it’s the revered who betray their trust.

This harrowing thriller is astutely directed by Sam Mendes, who seamlessly juggles the huge cast of 21, along with a scene-stealing baby, a live goose and a rabbit. Kudos to Rob Howell’s farmhouse set, Peter Mumford’s lighting, Nick Powell’s sound and Scarlett Mackmin’s choreography.

Every member of the high-spirited ensemble delivers a vibrantly memorable performance, particularly Paddy Considine, Fionnula Flanagan, and Laura Donnelly (Butterworth’s partner, whose family in Belfast inspired the drama.)

FYI: Jez Butterworth and Sam Mendes previously collaborated on the James Bond movies “Skyfall” and “Spectre.”

Running 3 hours and 15 minutes with an intermission, “The Ferryman” is the hottest ticket on Broadway.

Susan Granger’s review of “Apologia” (Off-Broadway: Roundabout’s Laura Pels Theatre)

 

While Webster’s dictionary defines an “apology” as acknowledgement of a fault, injury or insult, according to the Playbill, an “apologia” means “vindication, justification, explanation.”

Set in the spring of 2009 (which is when it was first produced), Alexi Kaye Campbell’s domestic drama takes place in the book-lined kitchen of Kristin Miller’s cottage in the England countryside, where she has been living for the past 40+ years as an American expat because she wanted “an ocean between my mother and myself.” (Oddly their relationship is never delved into later.)

Middle-aged Kristin (Stockard Channing) is a caustic feminist, left-wing political activist and renowned art historian. Family and friends have gathered to celebrate her birthday and the publication of her memoir.

They include her gay best-friend Hugh (John Tillinger), her estranged son Peter (Hugh Dancy), Peter’s born-again Christian/vegetarian fiancée Trudi (Talene Monahon) and Kristin’s son Simon’s roommate, glamorous TV actress Claire (Megalyn Echikunwoke). Dysfunctional Simon (also played by Hugh Dancy), who is supposedly working on a novel, has been delayed but eventually shows up.

For reasons not explained, Kristin’s late British husband assumed custody of both boys when they were very young, so it’s not surprising that they’re resentful.

“The thing I remember most about you is your absence,” Simon nastily notes.

“I woke up one morning and realized that pretty much everything we are and everything we do is a response against you,” adds Simon later.

So – at this festive gathering, filled with crackling confrontations – is there a chance for a reconciliation? A solid emotional payoff?

Not much.

“Apologia means a formal, written defense of one’s opinions or conduct,” narcissistic, uncompromising Kristin defensively explains to Trudi, “not to be confused with an apology.”

While director Daniel Aukin (“Skintight,” “Admissions”) has imported most of London’s West End cast and (director) John Tiillinger returns to the stage as an actor, the focus is clearly on sharp-tongued, yet acutely vulnerable Stockard Channing, whose provocateur performance is riveting.

Kudos to Dane Lafferty’s set, lit by Bradley King, and Anita Yavich’s costumes.

“Apologia” is scheduled to run at Roundabout’s Laura Pels Theatre at the Harold and Miriam Steinberg Center, 111 W. 46^th Street, thru December 16.

 

Susan Granger’s review of “Emma and Max” (Off-Broadway at The Flea)

 

Making his playwriting debut, independent filmmaker Todd Solondz (“Welcome to the Dollhouse,” “Happiness,” “Dark Horse,” “Weiner-Dog”) brings his provocative, socially conscious parody to the New York theater scene as part of The Flea’s “Color Brave” season, devoted to exploring racial themes.

Set in Manhattan, Emma and Max are the toddlers who have been cared for by Brittany (Zonya Love), a Barbadian nanny, who – in the jarring first scene – is fired by their parents.

“What did I do wrong?’ Brittany inquires, carefully counting her three-month severance pay before collapsing to the floor with a seizure.

Self-centered Brooke (Ilana Becker) and Jay (Matt Servitto) feel that now that the children are three and two, their needs have changed, so they’ve hired a 20 year-old au pair from Holland.

“With Brittany, it was always such a struggle just to understand what she was saying…I actually think that the little ones’ English is a little lagging because of her…well…cultural limitations,” egotistical Brooke explains.

Problem is: when grimly enigmatic Brittany leaves, she takes the apartment keys with her to Brooklyn and has no intention of returning them, despite Brooke’s repeated phone calls. And since Brittany’s an illegal immigrant, suspicions immediately arise.

Stressed over the domestic upheaval, Brooke and Jay take off for a Caribbean vacation on which they indulge in extensive, self-justifying monologues that eventually become rants. Emma, Max and the new nanny are projected in silent video images.

Solodnz uses the heinous, true-crime case that obviously inspired the play as foundation to eviscerate white entitlement and the disparity of power between the upscale couple and their black employee.  Cleverly, he has Brittany assume the additional job of a stagehand, arduously adjusting Julia Noulin-Merat’s sets between scenes – until the power shifts and she doesn’t.

Unfortunately, the playwright also serves as director, which is a disservice to himself. In film, Todd Solondz works with an editor. Here, he is unfettered. As a result, both the writing and direction are too heavy-handed, including the over-use of the song “The Winner Takes It All.”

Mercilessly satirical, “Emma and Max” has been extended through November 4, Off-Broadway at The Flea, 20 Thomas Street between Church and Broadway.

 

Susan Granger’s review of “The Roommate” (Long Wharf Theater)

 

In Aesop’s Fables, after a city mouse visits his naïve cousin in the country, he offers his cousin a taste of the ‘fine life’ in the city.  As it turns out, the country mouse discovers that he rather live where it’s quiet and simple, instead of the luxurious but dangerous city.

I don’t know if it was intentional, but in the opening play of the Long Wharf season, playwright Jen Silverman has created a slyly subversive reversal of this concept.

A lonely, divorced empty-nester, Sharon (Linda Powell) has rented part of her Iowa City home to Robyn (Tasha Lawrence), who has just arrived after driving from New York City. They meet in the spacious kitchen and, gradually, get acquainted.

Obviously sheltered from any semblance of sophistication, Sharon is remarkably innocent, filled with avid curiosity about her new housemate and the many cardboard boxes she’s unloaded.

Robyn quickly informs Sharon she’s not only a vegetarian but has her own cooking utensils. She identifies as a lesbian and smokes, both of which immediately unnerve Sharon, who also has no idea that the two thriving houseplants Robyn has brought along are actually marijuana.

At first, as these revelations occur, the audience laughs, often uproariously, at Sharon’s expense. Then, as Sharon develops a taste, even a fondness for the excitement of ‘forbidden fruit,’ things get serious.

Under the astute direction of Mike Donahue, this long, two-character drama is performed without an intermission, which means it gets quite tedious, even though Ms. Silverman’s dialogue is often witty.

Both resourceful actresses do their best to grasp their nebulous roles – with varying veracity.  But the device of numerous land-line phone calls from their grown, perhaps alienated, children is awkward, at best. In this day and age, why don’t they have cell phones?

On the plus side, the production design by Dane Laffrey (set), Reza Behjat (lighting), Anita Yavich (costume), and Stowe Nelson (sound) is admirable.

Bottom line: this regional theater production needs a lot more work.

“The Roommate” runs at Long Wharf Theater in New Haven through November 4. Call 203-787-4282 for tickets for information.

Susan Granger’s review of “Evita” (ACT of Connecticut)

 

Located in the heart of Ridgefield, this new Equity regional theater – known as ACT – launched the summer with “Mamma Mia” and is now presenting a stunning revival of “Evita,” written as a ‘rock opera’ by Andrew Lloyd Webber and Tim Rice.

“Evita” chronicles the spectacular rise of calculating, ambitious Maria Eva Duarte, a small-town radio actress/social activist, who blithely seduced and bedded suitors, starting with nightclub singer Magaldi, who took her to Buenos Aires, where she met and married pompous Colonel Juan Peron, serving as First Lady/Vice-President of Argentina from 1946 to her death from cancer at age 33 in 1952.

As the first ‘glamorous’ female political celebrity of the 20^th century, Eva Person ruthlessly raided Argentina’s treasury, yet endeared herself to poor, working people through her charity work. As observed by the sarcastic Everyman, named for the Marxist revolutionary Che Guevera, Eva oozes charm and “star quality.”

Originally, Elaine Page and Patti LuPone were the formidable West End and Broadway stars, popularizing “Don’t Cry for Me, Argentina,” while Madonna did the 1996 movie, introducing a new song, “You Must Love Me.”

Now, Julia Estrada tackles the demanding, difficult role – with mixed results. Her voice is occasionally shrill and she seems to lack self-awareness and humor. In short, she simply doesn’t command the stage, nor does Angel Lozada, who comes across far too insipid as cynical Che, a role originated by Mandy Patinkin and played, most recently on Broadway, by Ricky Martin.

As if to compensate, ACT’s visionary Artistic Director. Daniel C. Levine, enhances his version with awesome precision, impeccable timing and additional Latin instrumentation, assembling such a dazzling, versatile Ensemble that they’re far more riveting than the two leads.

Marlena Lopez Hilderly is poignant as Peron’s discarded mistress, lamenting “Another Suitcase in Another Hall.” Suave Julian Alvarez is memorable as Magaldi, warbling “On this Night of a Thousand Stars,” and Ryan K. Bailer gives commanding depth to Juan Peron.

The polished production is further enhanced by Jack Mehler’s scenic and lighting design, Stephen Jenssen’s sound design, Charles Sutton’s disciplined choreography (particularly with the Generals), Brenda Phelps’ costumes, Liz Printz’s hair design and music direction by Evan Roider and Bryan Perri.

“Evita” will run through November 11. Call 475-215-5433 or go to www.actofcgt.org  for tickets.

 

 

Susan Granger’s review of “Once” (Ivoryton Playhouse)

 

“Once” began as John Carney’s charming, low-budget, independent movie, made in Dublin, about a down-on-his-luck Irish busker who falls in love with a classical pianist from Czechoslovakia. It was a humble hit at Sundance and with art-house audiences back in 2007. Its stars – Glen Hansard of the Irish rock band, the Frames, and Marketa Irglova – became a real-life couple, as their song “Falling Slowly” won an Oscar in 2008.

Astutely sensing the theatrical possibilities, producers staged it first at a Cambridge, Mass., repertory theater, then as a modest Off-Broadway musical, before moving it onto the Great White Way, where it won eight 2012 Tony Awards, including Best Musical and Best Book (Edna Walsh).

Envisioned by astute director/choreographer Ben Hope (who played the male lead on Broadway as a replacement), it’s now back in a smaller venue, which better suits the evocative love story, along with the exuberant actors/musicians who play their own instruments onstage – providing a tuneful welcome as the audience arrives.

As the leading man Guy, Sam Sherwood embodies youthful fear and angst, mixed with newly awakened passion, while Katie Barton, as the Girl, estranged from her husband, lives with her mother, Baruska (Marcy McGuigan), young daughter and dysfunctional Hoover vacuum cleaner. She’s tart; he’s tender. They meet – and, suddenly, their lives become enriched with possibilities.

Since the plot is, admittedly, thin, it’s fortunate that Ben Hope supplies a strong supporting cast, including Margaret Dudaik, as Girl’s BFF Riza, and Stephen G. Anthony as lovelorn Billy, who owns the music shop where Girl plays the piano.

Jonathan Brown delivers comic relief as caffeine-drenched Svec, who is learning English from watching soap operas, and Morgan Morse, as ambitious Andrej – along with Andreina Kasper as the cello-playing bank manager and Rachel Mulcahy as Guy’s ex-girlfriend.

This excellent production is designed by Glenn Bassett with musical direction by Eric Anthony, lighting by Marcus Abbott and costumes by Cully Long.

You can catch “Once” at the Ivoryton Playhouse – 103 Main Street in Ivoryton – thru October 14. For ticket information, call the box-office at 860-767-7318 or visit the website at www.ivorytonplayhouse.org.

Susan Granger’s review of “Hershey Felder as Irving Berlin” (59E59 Theaters – Off-Broadway)

 

After dazzling audiences at the Geffen Playhouse in Los Angeles, Chicago’s Royal George Theatre, the Majestic Theatre in Boston, and Allen Theatre at the Cleveland Playhouse, Hershey Felder brings his unabashedly sentimental, one-man show to Manhattan.

According to Felder, before Irving Berlin died at the age of 101 in 1989, he had become a cantankerous old codger, railing at carolers in front of his Beekman Place townhouse, singing “White Christmas.”

“They don’t deserve it,” he barks.

Little Israel Isadore Beilin was born in Belarus in 1888. He arrived in the United States at the age of five and grew up on New York’s Lower East Side. He published his first song, “Marie from Sunny Italy” in 1907, receiving 33 cents its publication. That was just the beginning.

During his 60-year career, he wrote an estimated 1,500 songs, many becoming major hits, including “Alexander’s Ragtime Band,” “Easter Parade” and “I’ve Got My Love to Keep Me Warm,” plus the scores for 20 original Broadway shows and 15 Hollywood movies. He was Oscar-nominated eight times.

But Irving Berlin’s life had its ups and downs. He fell in love with socialite Ellin Mackay, whom he married and for whom he wrote the ballad “Always” (1925). When their first daughter was born, he wrote “Blue Skies” (1926).

In 1938 to commemorate the end of W.W. I on Armistice Day, Kate Smith introduced “God Bless America,” a fervently patriotic song he wrote in 1918. Berlin’s daughter, Mary Ellin Barrett, maintains that song was ‘very personal’ for her father, expressing his gratitude to his adoptive country. Over the decades, it’s earned millions for the Boy Scouts & Girl Scouts to whom Berlin donated all royalties.

Berlin’s long career as composer/lyricist concluded with an ill-fated show entitled “Mr. President,” which opened the same week that John F. Kennedy was shot.

With book and scenic design by Felder – who duly credits historian Meghan Maiya – the performance is directed as a 1-hour-45 min. biographical songbook by Trevor Hay – without an intermission. Kudos to Brian McMullen’s projections, Richard Norwood’s lighting and Eric Carstensen’s sound design.

My problem with Hershey Felder’s cynical portrayal of Irving Berlin is that it doesn’t resemble the elderly gentleman I met a few times and whose daughters I knew. Adding insult to injury, his caricatured imitation of Ethel Merman warbling “There’s No Business Like Show Business” goes beyond insulting.

According to the press notes, Mr. Felder does similar portrayals of Leonard Bernstein, Beethoven, Chopin, George Gershwin, Liszt and Tchaikovsky. None of which I have seen.

“Hershey Felder as Irving Berlin” plays through Oct. 28 at 59E59, between Park and Madison Avenues.

Susan Granger’s review of “Fiddler on the Roof” (Museum of Jewish Heritage – Off-Broadway)

 

The National Yiddish Theatre Folksbiene is one of the world’s best-known Yiddish theater companies, and this current production of the 1964 American musical is accompanied by English and Russian subtitles, projected on the sides of Beowulf Boritt’s simple set of paper panels and fabric banners.

Based on the folk tales of Sholem Aleichem, the story takes place in the fictional shtetl of Anatevke, where Yiddish was, indeed, the spoken language among its Jewish residents. (The ‘real’ village was probably near Kiev in what is now Ukraine.)

The observant dairyman Tevye (Steven Skybell) converses with God on a regular basis, often concentrating on the tension between religious tradition and the possibility of change.

Israeli actor/director Shraga Friedman’s translation, which debuted in Israel in 1965, has some interesting quirks. For example, Tevye’s signature song “If I Were a Rich Man” has become “If I Were a Rothschild,” referring to the most prominent European Jewish family of that period.

The rest of the exuberant company includes Tevye’s wife Golde (Mary Illes), their ‘eligible’ daughters (Stephanie Lynne Mason, Rosie Jo Neddy, Rachel Zatcoff) and suitors (Daniel Kahn, Cameron Johnson, Ben Liebert), plus, of course, the scene-stealing match-maker Yente (Jackie Hoffman).

Director Joel Grey, perhaps best known as the Emcee in “Cabaret,” confesses he doesn’t speak Yiddish, nor do many members of the cast which include some players from Bartlett Sher’s 2015 Broadway revival – all of whom took a crash course in the language. Actually, Grey is only a generation removed from the Yiddish theater; his father was comic/musician Mickey Katz.

Music Director Zalmen Mlotek conducts the 12-member orchestra, recalling the genuine klezmeric origins to which to music often alludes, while Stas Kmiec reproduces much of the original staging and choreography.

It’s so authentically, joyously Jewish that I was kvelling!

This “Fiddler on the Roof” is made its U.S. debut at the Museum of Jewish Heritage, 36 Battery Place in Lower Manhattan, on July 15 and has been extended through October 25 – and the ticket price includes admission to the museum.