Therese Raquin

Therese Raquin

Roundabout Theatre Company

Studio 54

December 26, 2015

Photo courtesy of Roundabout Theatre Company

My colleague and fellow blogger, Dierdre Deloatch, texted me last week to say she saw Therese Raquin.  She highly recommended it.  Since I trust her more than the reviews, I immediately went on line to TDF to see if it was available.  I got a ticket for December 26 at 2:00, and prayed that Keira Knightly and Judith Light would both be in for the matinee.  They were, and I have to concur with Ms. Deloatch.  The show is dark and intense.  It is wonderfully conceived and directed.  All the performers are engaging and mesmerizing.

Matt Ryan, Judith Light, Keira Knightly, & Gabriel Ebert
Photo courtesy of Roundabout Theatre Company

Adapted from the Emile Zola novel by Helen Edmundson, this tale of repression and servitude takes place in France in the year 1868.  Therese Raquin (played by Keira Knightly, making her Broadway debut) has been raised by Madame Raquin, her aunt (played by Judith Light).  Now that she is of age, Madame Raquin arranges for Therese to marry her son, Camille (played by Gabriel Ebert).  It is a loveless marriage based on the servitude that Therese has become accustomed to through her upbringing.  When Camille announces that he wishes to move the family to Paris for better opportunity, Therese sees the glimmer of a better life.  She quickly realizes that hope is futile, until her husband brings home an old friend, Laurent (played by Matt Ryan).

Keira Knightly & Matt Ryan
Photo courtesy of Roundabout Theatre Company

The chemistry between Ms. Knightly and Mr. Ryan is electric.  When Laurent first enters the Raquin’s Paris residence, you can feel the magnetism between the two characters.  The action of two-thirds of the play hinges upon this attraction, and these two actors skillfully deliver with exuberance.  Therese speaks sporadically during Act I, yet Ms. Knightly has the ability to clearly and effortlessly communicate her thoughts through subtle body language, carefully gestures, and intimate glances.  Both Laurent and Therese undergo huge transformations in the second act.  Ms. Knightly and Mr. Ryan seamlessly take these leaps by captivating the audience until the climax of the play.  They motivate every change and communicate every thought.

Keira Knightly & Judith Light
Photo courtesy of Roundabout Theatre Company

Judith Light is amazing as Madame Raquin, a role out of her physical type and age range, yet clearly not out of reach of her incredible talent and expertise.  The aging and infirmity of her character is impeccable and emotionally driven.  Gabriel Ebert is riveting as Camille.  He skillfully portrays his constrained upbringing through his narrow mindedness, condescending comments, and physical disability.

Gabriel Ebert, Matt Ryan, & Keira Knightly
Photo courtesy of Roundabout Theatre Company

The production is magnificently directed by Evan Cabnet.  The pace is steady and even.  There are small moments throughout the play that entice the senses into a deep level of engagement and keep you riveted.  The set is breathtaking.  A river flows across the stage creating tranquility, disturbance, and fear – each of which reflects Therese’s emotion at different times in the play.  The expanse of space and light of the Raquin home by the river is sharply descended upon by the heavy, low-ceilinged Paris apartment.  Lamont’s attic, sky lit apartment literally hangs amid the stars.  This unbelievable design by Beowulf Boritt makes possible a visceral understanding of the underlying fire in the characters and keeps the plot of Ms. Edmundson’s commissioned and concise adaptation moving forward.

If you listened to the reviews of Therese Raquin, chances are you missed seeing this moving and enthralling Roundabout Theatre production.  If it makes you feel better, you are not alone.  The theatre, during Broadway’s busiest season, had a large number of empty seats.  Not to worry, there’s still time.  Therese Raquin plays as Studio 54 until January 3.  Run… now! 

  

Domenick Danza

Marjorie Prime

Marjorie Prime

Playwrights Horizons

December 19, 2015

Photo courtesy of Playwrights Horizons

Is virtual reality a mere reflection of projected thoughts, or does it have a life separate and individual from those programming it?  This is a question that arises from experiencing Jordan Harrison’s Marjorie Prime at Playwrights Horizons.  The play is skillfully crafted and seamlessly directed to blur the lines between these realms.  The cast draws you deeply into their world and intimately connects you to their hopes and fears.

Tess (played by Lisa Emery) and Jon (played by Stephen Root) set up their aging mother, Marjorie (played by Lois Smith), with a prime of her deceased husband (played by Noah Bean).  The purpose for this is two-fold: first, to keep her company and second, to keep her memories alive.  A prime is a computer generated image in the likeness of a specific person.  This prime can interact as this individual when programmed with information about your relationship and details of your shared experiences.  Since perception frames most involvements, the truth of these interactions becomes questionable.  This is why Tess is skeptical of the effect these conversations have on her mother.  Jon is certain of the benefit they offer, since he sees improvement in Marjorie’s outlook.  He later understands Tess’s concerns when he has a need to develop a personal relationship with a prime.

Lisa Emery, Lois Smith, & Noah Bean
Photo courtesy of Playwrights Horizons

This play is all about relationship, and director Anne Kauffman has brought these four actors to a place where their interactions are truthful and sincere.  Lois Smith is superb as Marjorie.  She portrays the numerous layers of this aging character with strength, conviction, and detail.  Lisa Emery elicits great emotion and compassion as a woman who yearns for connection with her mother in order to resolve her deepest struggles.  Stephen Root’s character is continually warm, caring, and empathetic.  The chemistry between him and Ms. Emery is natural and dynamic.  Noah Bean emits a grounded calm that makes you understand why every character in the play willingly opens up and graciously reveals themselves to him. 

Stephen Root, Lois Smith, & Lisa Emery
Photo courtesy of Playwrights Horizons

Jordan Harrison's writing proves that a skilled playwright can lead you on a journey almost anywhere.  His dialogue is full of dramatic action that keeps you riveted.  The final scene of the play takes a stunning turn.  Can life’s most complex challenges be virtually resolved by merely combining streams of logic to given facts?  Marjorie Prime is extended at Playwrights Horizons until January 24.  See it and understand the depth and value of Marjorie’s simple statement, “How nice that we could love somebody.”

Domenick Danza

Hir

Hir

Playwrights Horizons

December 12, 2015

Photo courtesy of Playwrights Horizons

I read Taylor Mac’s play Hir last winter in American Theatre Magazine.  Hir refers to the pronoun used in place of him or her for a transgender person.  I remember it being bold and powerful, yet I knew that my first read only comprehended the surface level of meaning.  When I read that Kristin Nielsen was going to play the role of the mother, Paige, in the PlaywrightsHorizon production, I knew it was going to be great and that I had to see it.  I even paid full price for my ticket (usually I get tickets discounted on line from TDF).  The performance was worth three times what I paid for it.  Director Niegel Smith delves deeply into every detail of Mr. Mac’s amazing script and inspires the phenomenal cast of four to deliver truthful and visceral performances.

Kristine Nielsen and Tom Phelan
Photo courtesy of Playwrights Horizons

Isaac (boldly played by Cameron Scoggins) returns home from three years in the Marines to find his family in crisis.  His father, Arnold (skillfully played by Daniel Oreskes), suffered a stroke, his sister, Max (brashly played by Tom Phelan) is in gender transition, and his mother, Paige (brilliantly played by Kristine Nielsen) has abandoned all of life’s structures and disciplines, disregarded the household chores, and allowed her home to fall into total chaos.  It is revealed that Isaac was dishonorably discharged due to drug abuse, and his father physically abused the family for years.  Isaac begins to organize and clean the house, against his mother’s wishes.  It is this action that sets off a frenzy of emotion and truth telling from which there is no turning back.

  

Cameron Scoggins, Kristine Nielsen, and Daniel Oreskes
Photo courtesy of Playwrights Horizons

Gender roles are in constant flux, and frustration over the disillusionment that comes along with this flares up without warning.  It is a constant roller coaster of emotion, and the actors make it authentic and plausible.  Between Isaac’s service in Mortuary Affairs, where he cleaned up body parts of dead soldier after battle, Arnold’s holding and talking about his penis due to his diminished capacity, Max’s transition, and Paige’s enthusiasm for discussing Max’s transition and her “paradigm shift” in viewing the world, there is plenty of talk about body parts.  Mr. Mac brilliantly weaves these images into his dialogue making bold statements about honoring the dead and parts of the past into practically every scene. 

Kristine Nielsen
Photo courtesy of
 Playwrights Horizons

The set is a realistic “starter home” designed by David Zinn.  It is in total disarray at the opening of the first act.  Even the house curtain has a pattern that evokes chaos.  The set has a solid and low ceiling, yet lighting designer Mike Inwood brilliantly enhances every playing area.  His combination of actual ceiling fixtures and stage lighting is remarkable and effective.

This play is significant and truly incredible.  Mr. Mac’s voice is strong, his characters are real, and his writing style is unique.  The timing of all four actors is impeccable, their chemistry is fierce, and their physicality is sharp.  If you don’t get to see this production before it closes at Playwrights Horizons on January 3, pick up a copy of the script, read it, and have a “paradigm shift” of your own.  As Paige says, “Sometimes you spend your entire life preparing for something to be one way and right from the starts it’s another.”

Domenick Danza

Nora

Nora

Cherry Lane Theatre

December 7, 2015

Photo courtesyj of Cherry Lane Theatre

The Cherry Lane Studio Theatre is the ideal location for the dark and intimate production of Nora, a stage version of Ibsen’s A Doll’s House, by Ingmar Bergman.  With audience on three sides in that small venue, everyone is able to obtain an up close and personal connection to the characters and their challenges.  The play is set in the time period of Ibsen’s original script, yet the location is not specified.  The subordinate role women play, although spoken about, is not portrayed through action.  We also do not see Nora interacting with her children.  Therefore, Nora’s decision to leave her husband and children at the end of the play is not as risky, shocking, or impactful as intended by Ibsen.

Jean Lichty and Todd Gearhart
Photo courtesy of Cherry Lane Theatre

Jean Lichty and Todd Gearhart are focused and thoughtful as Nora and Torvald.  Their relationship is strong, yet this adaptation lacks the playful “doll” aspect that is the basis for their attraction and marriage.  When Nora’s act of forgery is revealed, Torvald’s self-preserving reaction is clear and in the moment.  We do not, however, see Nora come to any realization in that scene.  Bergman holds off on Nora’s confrontation with her husband until later that night.  While he lies naked in bed, she awakens him, fully dressed, ready to leave.  Torvald is confused by her decision to walk out on him and the children.  He claims he is willing to change, yet she is unrelenting.  Torvald is victimized by her decision.  This feeling is heightened by director Austin Pendleton’s staging.  At the end of the play, Torvald is seated on the bedroom floor, naked and wrapped in a blanket from the bed. 

  

Jean Lichty and Larry Bull
Photo courtesy of Cherry Lane Theatre

The portrayals of Christine Linde and Nils Krogstad, by Andrea Cirie and Larry Bull, are dark and formal.  The sadness they carry due to their life experiences weighs heavy on them both.  The combination of this with their strong, palpable chemistry creates an intriguing storyline.

The hardship and despair in the lives of all the characters is evident and skillfully portrayed.  By the end of the play they are all cleansed of the guilt of their secrets and shame.  If this is Bergman’s intention, it is well directed and performed.  A journey to awakening, such as Nora’s, needs to have some sense of hope, awakening, and continuity.  Unfortunately, Bergman’s adaptation has stripped Ibsen’s play of those moments, leaving behind nothing more than a dark journey of loss and despair.

Domenick Danza