A View from the Bridge

A View from the Bridge

The Young Vic Production

The Lyceum Theatre

October 24, 2015

Photo courtesy of
A View from the Bridge

This past spring my colleague and fellow blogger, Deirdre DeLoatch, wrote about her theatre trip to England.  “Experiencing the Heart and Culture of London” was posted on this blog on March 20, 2015.  She raved to me about the Young Vic’s production of Arthur Miller’s A View from the Bridge and how it was destined for a Broadway run.  That production is presently in previews at the Lyceum Theatre with and opening date scheduled for November 12.  It far exceeds the high expectation that Deirdre setup for me.  Director Ivo Van Hove’s bare bones production revels in the richness of Arthur Miller’s text and makes relevant this impassioned story of family, love, and hubris.

The play takes place in the 1950s in Red Hook, Brooklyn.  Eddie Carbone, a longshoreman and son of an Italian immigrant, opens his home to two of his wife’s cousins, Marco and Rodolpho, who are illegally entering the country to work and send money home to their impoverished family.  At the same time, Eddie’s niece Catherine, who he and his wife Bea raised since childhood after the death of her parents, is coming of age and ready to move forward with her adult life.  When Rodolpho begins romancing Catherine, Eddie is forced to face his true feelings for his niece and Bea faces her biggest fear.

Photo courtesy of A View from the Bridge

The starkness of the production makes clear the skillful structure of Arthur Miller’s play.  Just when he brings the conflict to a high point and you think resolution is ahead, he delves deeper into what is driving each character so we questions what is right and what is truth.  No playwright writes the tragic fall of the American hero like Arthur Miller.  When Eddie Carbone screams, “He took my name… I want my name back,” he echoes John Proctor in The Crucible and Peter Stockman from his adaptation of Ibsen’s An Enemy of the People.  Once the truth is told, there is no going back.  When Eddie lunges at Marco in the final scene after his wife Bea finally confronts the truth of his desire, it is similar to the tragic ending of All My Sons.

Phoebe Fox, Mark Strong, & Nicola Walker
Photo courtesy of A View from the Bridge

Although physically not cast to type, the actors make Miller’s dialogue ring with vitality and inspired dramatic action.  Mark Strong is audaciously authentic as Eddie Carbone. His is equally matched by Nicola Walker as his wife Bea.  She has honest moments that reveal her true feelings and realistic fears that propel the action of the play forward.  Michael Gould is a grounding force as Alfieri, who carefully and deliberately steps into the action of the play and accepts his role in the outcome.  Phoebe Fox and Russel Tovey, as Catherine and Rodolpho, change and grow as they face their obstacles in order to achieve their dreams.

Russel Tovey, Phoebe Fox, and Mark Strong
Photo courtesy of A View from the Bridge

The set, by Jan Versweyveld, is a designated square box with a single entrance up stage center.  There are no props and no interior or exterior settings.   The playing area is like a boxing ring with audience seating stage right and left, creating a three quarter stage setting.  Other powerful director/designer choices are the fact that all the characters, except for Alfieri before he steps into the playing area, are barefoot.  Also, the shower in the opening and closing make a strong, effective, awe-inspiring statement.  I will not go into detail about these images so you can feel the full impact when you see it… and you MUST.

This production sheds a new light on this American classic by stripping it down and engaging the audience in the beauty, rhythm, and directness of Arthur Miller’s words.  The play runs under two hours without an intermission, and is scheduled for a limited run of seventeen weeks.  It is an impactful work.  Be sure to see it. 

Domenick Danza

Waiting for Godot

Waiting for Godot

Gare St Lazare Ireland & Dublin Theatre Festival

NYU Skirball Center

October 17, 2015

Photo courtesy of
Gare St Lazare Ireland
and Dublin Theatre Festival

The Gare St Lazare Ireland and Dublin Theatre Festival production of Waiting for Godot played at NYU’s Skirball Center for the Performing Arts October 13 through 17.  The director and actors unearth the natural rhythms and subtle humor of this Becket classic.  The mood and timing of the production envelops you in the working of the characters’ minds, the simplicity of their needs, and the sheer humanity of their experiences.

The set, designed by Ferdia Murphy, is captivating.  The large and haunting projection of the full moon is mirrored by the identical, circular playing area on the stage floor.  The willow branch that is suspended from above is minimal, yet constantly present.  Director Judy Hegarty Lovett utilizes the space to the fullest, allowing the two main actors, Gary Lydon (as Estragon) and Conor Lovett (as Vladimir), to experience their questionable encounters with Dominic J. Moore (as Pozzo), Marcus Lamb (as Lucky), and William Keppler-Robinson (as the Boy).  The connection and relationship between the two main characters is grounded and absorbing.  Their timing is strong and clean, both physically and vocally.  All these elements, along with the calm and steady pace of the production, create a mesmerizing sense of interest and intrigue.

Photo courtesy of
Gare St Lazare and Dublin Theatre Festival

According to the program notes: “Over the past ten years, the Irish theatre company Gare St Lazare Ireland has represented Ireland at the very highest level of artistic achievement.  The company team of Conor Lovett, Judy Hegarty Lovett and associate producer Maura O’Keeffe, has cemented its international reputation among the foremost interpreters of the work of Samuel Beckett, producing over 17 Beckett titles for the stage.”  This production of Waiting for Godot is a true reflection of this high quality and expertise.  Their webpage advertises that they will be performing two different Beckett plays at the Lincoln Center White Lights Festival November 2 through 5.  I highly recommend checking them out.

Domenick Danza

Sleepy Hollow

Sleepy Hollow

The Players Theatre

October 11, 2015

Photo courtesy of
The Players Theatre

Sleepy Hollow, a Musical Thriller is good family fun.  It is running at The Players Theatre, for its fourth smash year, through November 7.  I brought my 10 year old nephew Francesco who said it was “pretty good, sometimes funny, and not that scary.”  I agree with him. 

Photo courtesy of
The Players Theatre

The script, by Brenda Bell, does a great job of developing the well know characters of Ichabod Crane, Katrina Van Tassel, and Brom Bones.  Their actions are motivated by human desires and clear emotions that drive the plot forward.  Michael Sgouros’ score cleverly builds the suspense of this legendary classic.  The three musicians, who perform live, do a great job under his direction.  The voices in the cast are all strong.  Outstanding performances are delivered by Aaron Castle (Ichabod Crane), Adam Kaster (Brom Bones), Bekah Shade (Anna Jansen), and Eric Fletcher (Henry Anderson).  The set is low budget and simple with projections and lighting that heighten the spookiness of the Hollow. 

Photo courtesy of The Players Theatre

The Players Theatre, located at 115 MacDougal St. in Greenwich Village, will be producing Alice in Wonderland from October 11 through November 15 and A Christmas Carol from November 29 through December 30.  They are sure to be seasonal fun for family members of all ages.

Domenick Danza

Ripcord

Ripcord

Manhattan Theatre Club

New York City Center Stage I

October 3, 2015

Photo courtesy of
Manhattan Theatre Club

Ripcord, a new comedy written by David Lindsay-Abaire, is now playing at Manhattan Theatre Club’s New York City Center Stage I.  The production is witty and charming.  The script is lighthearted, touching, frivolous, and sincere.  The cast is crisp and the directing is clean. 

Abby (played by Holland Taylor) has a new roommate at the Bristol Place Assisted Living Facility.  She is energetic, cheery, and optimistic, and Abby wants her out.  Marilyn (played by Marylouise Burke), the new roommate, is comfortable with Abby’s company and happy with the bright sunlight in her new room.  She has no intention of leaving.  They make a bet.  If Abby can make Marilyn angry, she gets the room to herself.  If Marilyn can break Abby’s hard outer shell and scare her, she gets the bed closer to the window.  Both women are stubbornly determined and ruthlessly pull out all stops to win. 

David Hyde Pierce, Holland Taylor, Marylouise Burke,
and David Lindsay-Abaire
Photo courtesy of Manhattan Theatre Club

Holland Taylor and Marylouise Burke are well matched.  Their chemistry and timing are perfect.  This is not a surprise since the play is directed by David Hyde Pierce.  Amid the comedic antics, both characters experience sincere moments of emotion that offer glimpses into the deeper truths of their characters.  David Lindsay-Abaire skillfully develops these details in the later part of the play.  This is what makes this lighthearted comedy a rarity.  The kookiness, absurdity, and bitchiness in the writing are superseded by the warmth and emotional healing that only comes from true human contact.

Cast members Rachel Dratch, Glenn Fitzgerald, Daoud Heidami, and Nate Miller are honest and funny.  Their performances heighten the impact of the play’s themes and comic timing.  The set, designed by Alexander Dodge, is full of surprises with quick changes that open the space in ways you do not expect.  The lighting, by Peter Kaczorowsky, effectively shifts the focus and mood of each scene.

Ripcord is a truly enjoyable evening at the theatre.  David Lindsay-Abaire succeeds at making us laugh at the challenging behavior of the two main characters and see ourselves in their fear, frailty, and humanity.

Domenick Danza

Tap City

Tap City

On Stage at Kingsborough

Kingsborough Community College

October 2, 2015

Photo courtesy of On Stage at Kingsborough

On Stage at Kingsborough kicked off its 2015-16 season on October 2 with Tap City: The Best of the New York City Tap Festival.  It was a relatively short concert (about ninety minutes total, including intermission) that left me wanting more.  The ensemble was diverse, charming, and full of energy.  They skillfully performed a variety of tap dance styles.  This was a great way for On Stage at Kingsborough to start their season that consistently offers a wide range of entertainment for audiences from six to sixty.

The Ensemble of Tap City
Photos Courtesy of On Stage at Kingsborough

Tony Waag, The American Tap Dance Foundation’s Artistic Director, served as Master of Ceremonies for the evening.  All the music was performed live by a trio of piano, bass, and drums.  The program included the rhythm tap of choreographer and master teacher Brenda Bufalino, two Honi Coles classics, and a “Tribute to Musical Ladies of Hollywood” (Ruby Keeler, Ginger Rogers, Ann Miller, Eleanor Powell).  Christopher Broughton was sharp in his “Tribute to Gregory Hines”, capturing his unique style and effervescent energy.  Kazu Kumagai was mesmerizing in his piece “Human Nature”, choreographed in a style similar to that of Savion Glover.  Body percussionist Max Pollak was fascinating in his unique solo that included audience participation.

“The American Tap Dance Foundation is a non-profit organization committed to establishing and legitimizing Tap Dance as a vital component of American Dance through creation, presentation, education, and preservation.”  Tony Waag stated at the beginning of the performance that he wanted the audience to experience the wide range of tap styles that exist.  The evening was successful on all accounts.

If you live in south Brooklyn and are interested in inexpensive tickets to high quality performances, I highly recommend checking out On Stage at Kingsborough this season.  Located on the campus of Kingsborough Community College, parking is free and accessible.  The shows are appropriate for children, families, and seniors.  Do as I do, take your mother and have an enjoyable evening out.

Domenick Danza