Eureka Day

 Eureka Day
Manhattan Theatre Club
The Samuel J. Friedman Theatre
January 4, 2025 

Photo courtesy of Manhattan Theatre Club

Jonathan Spector’s new play, Eureka Day, is full of laughs… until you realize that the laugh is on us.  It’s easy to pick a side in a dispute or debate, but what do you do when there is no chance of resolution or compromise?  The play starts off in a simple, pleasant, and welcoming atmosphere.  When a health crisis occurs among a group of young children, that agreeable environment quickly transforms into a political hotbed.  No one is willing to bend in their belief.  Mr. Spector creates rich backstories for these characters to keep the conflict truthful.  Director Anna D. Shapiro works with a stellar cast to build the tension and shift the tone as the action progresses.  

Eureka Day is a progressive private elementary school on the east coast.  Their executive board of parent volunteers meets regularly to maintain inclusivity and provide clear communicate to members of the school community.  The main governing rule for the committee is that full consensus is needed to change any school policy.  Don (played by Bill Irwin) guides the committee through every discussion, making sure all members voice their points of view.  Because of this, committee discussions tend to be lengthy.  Suzanne (played by Jessica Hecht) welcomes the newest member to the committee, Carina (played by Amber Gray), whose son is new to the school.  The more Suzanne invites Carina to participate, the more she cuts her off.  When an outbreak of mumps runs through the school, the unvaccinated daughter of Meiko (played by Chelsea Yakura-Kurtz) becomes ill.  Meiko is romantically involved with another committee member, Eli (played by Thomas Middleditch).  Their time together allowed her daughter to unknowingly pass the illness to Eli’s son, whose vaccine was ineffective.  While the school is on temporary quarantine, the committee holds a zoom meeting to give parents of the school community a chance to discuss the situation.  All hell unexpectedly breaks loose.  A consensus on how to proceed is not possible.  Change needs to take place, yet no one is willing to budge. 

Amber Gray, Bill Irwin, & Chelsea Yakura-Kurts
Photo courtesy of Manhattan Theatre Club

This cast is phenomenal, creating broad humor out of politeness hesitation, and forced considertion.  It is clear what the characters intend to say, yet they never let themselves.  The comic timing in their holding back is impeccable.  They put great effort into establishing an environment of inclusivity and respect, but it is full of nothing more than projection, assumption, and judgement.  This effectively makes the situation comical.  The laughs build to a high crescendo during the zoom meeting, then the tone abruptly shifts when the dispute hits a wall.  The humor continues as the characters speak directly, but it becomes more biting.  The way they resolve the issue is a bit of a surprise, yet what is ahead for them will prove even more challenging. 

Eureka Day is playing at Manhattan Theatre Club’s Samuel J. Friedman Theatre.  It has been extended through February 2.  This play offers a unique opportunity to take a focused look at ourselves.  Go see it and find out how far you’re willing to go for your convictions.  

Domenick Danza

A Shift of Opinion

 A Shift of Opinion
Theater for the New City
January 2, 2025 

Photo courtesy of A Shift of Opinion

Playwright Vadim Astrakhan pays homage to Jacob Schiff in his play A Shift of Opinion.  By telling the story of this Jewish American philanthropist, we see the powerful effect one man can have when he uses his influence and wealth to make positive change.  Director Joe John Battista gathered a strong cast to portray well known personalities from American history, all of whom were contemporaries of Jacob Schiff.  This story is relevant to our present-day politics and atmosphere of hate.  History repeats itself, yet if stories such as this are not told, we remain in the dark.

In 1903, a pogrom took place in czarist-era Russia, destroying a Jewish community and killing 49 residents.  When Jewish New York banker Jacob Schiff (played by Michael Donata) hears the news, he is outraged.  He immediately meets with his friend, President Theodore Roosevelt (played by Roger Gonzalez), who writes a letter to Russian leadership.  Unhappy with Russia’s response, Jacob meets with another friend, William Randolf Hearst (played by Michael Meth), who informs him of the impending war between Japan and Russia.  Jacob sees this as an opportunity to take down the Russian czar.  He meets again with President Roosevelt, who allows Jacob to individually fund the Japanese army, leaving the United State out of the conflict.  Japan is triumphant, yet it is not until the Russian Revolution in 1917 that the imperial government is overthrown.  In 1920, US Congressman Albert Johnson (played by Andrew Ryan Perry) pushed for strong anti-immigration legislation, prohibiting immigration from Asia and imposing quotas on the number of immigrants entering the United States from easter and southern Europe.  This had a disastrous effect on the Jewish community.  By this time, Jacob Schiff had passed away. 

Michael Donato as Jacob Schiff
Photo courtesy of A Shift of Opinion

Michael Donato solidly portrays Jacob Schiff as a determined man of high principles.  He is steadfast in his beliefs, which includes that the United States is a Zion for the Jewish people.  He did not support the development of a Jewish nation, for which his colleague, Nathan (played by Alex Notkin), tries to seek his financial support.  Towards the end of his life, Jacob changes his view on that possibility.  This “shift of opinion” is evidence of his ability to change his fervent convictions based on events in present time.

Some of the more humorous scenes are between Mark Twain (played by John Barilla) and O. Henry (played by Brian Sheppard).  These two characters voice their perspectives on Jewish culture, and freely share their opinions on Jacob Schiff’s philanthropic activities.  Mr. Sheppard is bold and daring in his physicality and characterization of O. Henry, while Mr. Borilla is witty and biting as Mark Twain.  Michael Meth’s stoic portrayal of William Randolph Hearst keeps these scenes grounded in fact, highlighting Jacob Schiff’s contribution to historic events.   

Other strong performances are delivered by Christian Neal as librarian Bella Greene, Roger Gonzalez as President Theodore Roosevelt, Andrew Ryan Perry as Jack London and Congressman Johnson, Shuhei Kinoshita as Baron Takahashi, and, with impressive presence and command, Alex Notkin as Ambassador Cassini. 

A Shift of Opinion is playing at Theater for the New City through January 5. 

Domenick Danza

Swept Away

 Swept Away
Longacre Theatre
December 28, 2024 

Photo courtesy of Swept Away

The Broadway production of Swept Away is a beautiful telling of a harrowing tale.   John Logan’s book cuts to the heart.  The music and lyrics by the Avett Brothers run the gamut from foot stomping fun to tender, spiritually moving ballads.  Director Michael Mayer approaches the challenges of this unique musical with creativity and perspective that grips the soul and engages every emotion.  This new musical is closing way too soon.  

Mate (played by John Gallagher, Jr.) is haunted on his deathbed by the ghosts of three of his shipmates.  They urge him to tell their story.  He resists, and finally gives in.  It is the year 1888.  A whaling vessel is ready to set sail, but one crew member is missing.  Little Brother (played by Adrian Blake Enscoe) rushes in, ready for his first big adventure.  He is followed by Big Brother (played by Stark Sand), who is trying to convince him to return home to their farm.  While they are engrossed in their argument, Captain (played by Wayne Duvall) orders the gangplank to be removed so the ship can set sail.  Big Brother is now trapped with Little Brother, embarking on a journey he had no intention of joining.  The brothers continue to argue for days, but it is useless.  They are at sea.  When the ship hits a storm, all the crew are lost, except Mate, Captain, Big Brother, and Little Brother.  They are adrift in a lifeboat, where they will remain for over twenty days with no food or water.  As Little Brother lays dying, they make the only decision that will keep the remaining three alive. 

Photo courtesy of Swept Away

The first half of this musical is full of discovery, comradery, and conflict aboard the whaling vessel.  The choreography, by David Neumann, creates relationships among the hardy crew, builds tension between the characters, and keeps the action moving at a brisk pace.  Mr. Neumann works closely with scenic designer, Rachel Hauck to magnificently depict the sinking of the ship.  It is a gripping and stunning enactment.  

Photo courtesy of Swept Away

The second half takes place in the lifeboat, and the tone dramatically shifts.  The four main actors (Adrian Blake Enscoe, Stark Sand, Wayne Duvall, and John Gallagher, Jr,) keep the audience fully engaged.  Mr. Mayer brilliantly spins the lifeboat in different directions to transition the perspective.  The climax of the action is a heart wrenching twist, which allows the rest of the story to fall gracefully to its conclusion.  Forgiveness, comfort, and redemption are shared among these characters.  It is an honorable ending to a tragic story. 

Swept Away announced an abrupt closing date shortly after it opened at the Longacre Theatre.  The closing was extended for two weeks to December 29.  At this time, there is no notice of it being extended again, which is highly unfortunate.  It is a unique and brilliant piece of theatre.  Its closing is a tremendous loss to the Broadway season. 

Domenick Danza

“Oh, Mary!”

“Oh, Mary!”
Lyceum Theatre
December 16, 2024 

Photo courtesy of "Oh, Mary!"

The Broadway production of “Oh, Mary!” is madcap hilarity.  Playwright Cole Escola took a few historical facts, combined them with a few little known facts, asked, “What if?” and went wild with the possibilities.  Director Sam Pinkleton found the style and pace that heightened the humor.  The cast plays each moment for every laugh.  It is over the top fun! 

Mary Todd Lincoln (played by Cole Escola) has a drinking problem.  She tells her husband, Abe (played by Conrad Ricamora) that she will stop drinking if he lets her go back to her true calling, which is cabaret singing.  He refuses to allow it.  It is not befitting for the wife of the President to sing in cabarets, especially during times of war.  More importantly, Abe is concerned that he will not be able to keep his homosexuality a secret in that setting.  As soon as the war is over, Abe decides to allow Mary to take acting lessons to keep her occupied.  Mary falls in love with her acting teacher (played by James Scully).  When she finds out what is really going on between her teacher and her husband, she comes up with an idea to rid herself of the unbearable obstacle in her way of achieving her cabaret dreams.

Conrad Ricamora & Cole Escola
Photo courtesy of "Oh, Mary!"

This cast (Cole Escola, Conrad Ricamora, James Scully, Bianca Leigh, and Tony Macht) is in perfect sync throughout the ninety-minute performance.  The timing and style are consistent and effective.  The storyline is full of surprises, and the playwright and director connect them all the way through to a grand finale payoff. 

Cole Escola is scheduled to perform the role of Mary through January 19.  Betty Gilpin will take over the role from January 21 through March 16.  The play is worth seeing no matter who is performing.  It is raucously off beat and precisely on point.

“Oh, Mary!” is playing at the Lyceum Theatre. 

Domenick Danza

Babe

 Babe
The New Group
Pershing Square Signature Center
December 14, 2024 

Photo courtesy of The New Group

The New Group production of Jessica Goldberg’s Babe delivers a powerful punch.  Director Scott Elliot gets to the heart of Ms. Goldberg’s writing.  The pace is steady.  The relationships are strong.  Set in the music industry, the audience gets a glimpse of power structure and how decisions are made.  There is a clear view of how far we’ve evolved over the past forty years, due to sensitivity training and the effort to eliminate toxic work environments.  We also get a clear sense of who pays the price.

Gus (played by Arliss Howard) and Abigail (played by Marisa Tomei) are interviewing Katherine (played by Gracie McGraw) for a position in their management office.  The walls are covered with gold records of the recording artists they represented.  Katherine is young, glib, and assertive.  Gus tells her what he and Abigail had to do back in the day to discover and develop individual artists who made a lasting impact.  At Abigail’s insistence, Katherine is offered the job, but does not rise to the challenge as easily as she anticipated.  After Gus aggressively puts her in her place, Abigail reaches out to her.  They bond over stories of Kat Wonder, a solo artist discovered by Gus.  She was a true friend to Abigail, and Katherine idolizes her.  When Katerine accuses Gus of sexual harassment, the tables turn.  Abigail’s loyalty is put to the test.  She faces the truth of the role she played as Gus’ partner.  Unfortunately, part of that becomes a liability. 

Arliss Howard & Marisa Tomei
Photo courtesy of The New Group

Marisa Tomei delivers a strong performance, physically transforming into the character of Abigail.  She shifts in age as scenes take place in the present as well as decades earlier.  In addition, the character is undergoing cancer treatment.  Ms. Tomei genuinely portrays this wide range of experiences.  It is a visceral performance.  Arliss Howard holds nothing back as Gus.  He is bold and direct.  The character’s confidence is evident in his masculine demeanor.  Gracie McGraw plays both Katherine and Kat Wonder.  She and Ms. Tomei seamlessly transition through these scenes.  They cross timelines and smoothly shift emotion.  Their physicality tells the full story, magnetizing the audience’s interest and intrigue. 

At first, this story is about making it in the music industry.  As events unfold and the past is revealed, the play becomes about power, who has it and how they hold onto it.  When accountability lands, it’s not always fair. 

Babe is playing at Pershing Square Signature Center through December 22.  The performances of this cast are worth seeing.    

Domenick Danza

The Hills of California

 The Hills of California
Broadhurst Theatre
November 16, 2024 

Photo courtesy of The Hills of California

Jez Butterworth’s The Hills of California is a heartbreaking journey through the shattered dreams of four sisters.  Director Sam Mendes explores the rhythm inherent in Mr. Butterworth’s writing to accentuate the poignant moments and delve into the truths of the story.  The large cast works beautifully together, evoking a genuine ambiance of Blackpool, England in 1955 and 1976.  The set spins and time seamlessly shifts, bridging the emotional correlation of past and present.

Jill (played by Helena Wilson) is having the piano tuned in the Seaview Rooming House as the nurse, Penny (played by Ta’rea Campbell), is giving her the latest update on her mother’s condition.  She can pass at any time from her battle with cancer, yet Jill is desperate for her mother to hang on until her oldest sister, Joan (played by Laura Donnelly), arrives from California.  Her youngest sister, Ruby (played by Ophelia Lovibond), is there with her husband (played by Bryan Dick).  When her older sister, Gloria (played by Leanne Best) arrives, she is ragging on her husband (played by Richard Short) and her two teenage children (played by Nancy Allsop and Liam Bixby).  She quickly turns her malice onto Jill and Ruby.  

Photo courtesy of The Hills of California

Time shifts back to 1955.  The four sisters (played by Nancy Allsop, Nicola Turner, Sophia Ally, and Lara McDonnell) are rehearsing their Andrew Sister’s routine with their mother, Veronica (played by Laura Donnelly).  She is a serious task master, and the girls are hard workers.  One of the boarders, Jack Larkin (played by Bryan Dick), arranges an audition for the girls with Perry Como’s manager, Luther St. John (played by David Wilson Barnes).  He informs Veronica that the material in the girls’ act is out of date, and only one of them has star potential.  The events that follow change the lives of the family, yet not in the way they hoped.

Leanne Best, Ophelia Lovibons, Helena Wilson, & Laura Donnelly
Photo courtesy of The Hills of California

Mr. Butterworth’s writing is honest and prolific.  The characters are distinct, truthful, and empathetic.  Each are brutally affected by the events that took place in 1955.  They are haunted by their past, and no matter how hard some of them try, they cannot escape.  Helena Wilson portrays Jill with optimism and hope.  She never left the family home and holds onto the joyful memories that bonded her to her sisters when they were performing together.  Leanne Best does not hold back in showing Gloria’s resentment and bitterness.  Her fire fuels the conflict between the sisters.  Ophelia Lovibond’s Ruby is both naive and knowledgeable.  She knows how to get what she wants, yet she wears her heart on her sleeve.  

Joan finally arrives during Act III, and the sisters must face the truth… and themselves.  Laura Donnelly is grounded and fully exposed in her portrayal of this character.  She weaves wild tales of success and failure.  Some are true and some are lies, yet they all emotionally engage her sisters.  What these four characters reveal and how they open up when they are finally united is riveting.  The final moment is simple and powerful. 

The Hills of California is playing at the Broadhurst Theatre through December 22.  Don’t miss it! 

Domenick Danza

Tin Church

 Tin Church
Off the Wall Productions
Chain Theatre
November 9, 2024

Photo courtesy of Off the Wall Productions

Playwright Robyne Parrish explores the traumatic effect of abuse in her play Tin Church.  She creates a haunting atmosphere where dreams and memories collide, giving the characters places to hide their secrets.  They are inevitably uncovered, yet never fully admitted to.

We first meet the characters, Mary (played by Marguerite Stimpson) and her younger sisters, Linda (played by Christina Perry) and Sue (played by Lilly Tobin), during a dream.  Mary says it’s her dream, yet her sisters think it’s theirs.  Later, Mary writes a letter to her cousin, thanking her for coming to her grandmother’s funeral.  Mary and her sisters discuss the items they took from their grandmother’s house after her funeral.  When Mary’s mother, Mildred (played by Virginia Wall Gruenert), is sitting with her girls on the porch, she asks Sue to bring their Daddy, who is up in his room, sick, a glass of sweet tea.  First, Mildred adds extra sugar.  The girls say it’s too much.  Later, Mildred has a dream.  Mary comes to her room at night because she can’t sleep.  Mary tells her mother that she saw her grandmother and her Daddy taking a nap together.  Mildred asks Mary if this is a dream or a memory. 

Lilly Tobin, Marguerite Stimpson, & Christina Perry
Photo courtesy of Off the Wall Productions

The ninety-five-minute play continues with these fragmented dream/memory scenes that create an unsettled atmosphere.  Piece by piece things start to connect.  The physical, sexual, and emotional abuse these women experienced is so overwhelming that none of the characters can face it.  They each cover it up in their own way, adding layers of trauma.

This cast, under the direction of the playwright, does a phenomenal job of telling this multi-layered story.  They create honest moments and truthful relationships that reveal the underlying story of their experiences.  The audience connects the images from the dreams and memories to the interactions of the characters in real time.  Marguerite Stimpson’s Mary is always looking out, searching for something.  Christina Perry’s Linda drinks too much and pushes her sisters’ buttons.  Lilly Tobin’s Sue is overly sensitive and wound way too tight.  Their real time scenes are full of conflict, which is reflected in the haunting manner of the dream sequences.  

Lilly Tobin, Virginia Wall Gruenert, Christina Perry, & Marguerite Stimpson
Photo courtesy of Off the Wall Productions

Virginia Wall Gruenert plays Mildred as a grounded matron for the family.  When we realize what she’s been doing when sweetening her husband’s tea, we understand that groundedness is not rooted in sanity.

The heartbreak of this story is how this family trauma remains unresolved at the end of the play.  Two of the characters, Linda and Sue, have children of their own.  They argue over who is more like their mother.  It is astounding how much of this pattern will be passed down to the next generation, as it was passed on to these women. 

Tin Church is playing at Chain Theatre through November 23. 

Domenick Danza