What’s Your Wish?

What’s Your Wish?

Thicket &Thistle

Access Theatre Space

February 26, 2016

Photo courtesy of Thicket & Thistle

Thicket and Thistle celebrated a short run of their production of What’s Your Wish? at the Access Theater space on February 26 and 27.  You might have seen this show at the NY Fringe Festival in August 2016.  It is funny, bright, refreshing, and endearing.  This performance truly achieves the company’s mission to “strive to surprise and delight, to enchant and enlighten… to challenge audiences to break down the 4^th wall and meet the performers half way.” 

It is Nicholas’ sixteenth birthday.  He is very saddened that he did not get the car he wanted.  Instead he got an heirloom watch and an enchanted book.  Nicholas and his best friend, Brian, are sucked into the book when they reluctantly open it and begin reading.  The only way back to the real world is to go through the death forest and ask the Enchantress to grant their wish.  The show is a grown-up musical tale about friendship, truth, disappointment, and sacrifice. 

The cast of What's Your Wish?
Photo courtesy of Thicket & Thistle

The ensemble is amazing.  Kyle Acherson and Sam DeRoest have great chemistry and authenticity as best friends Nicholas and Brian.  Joshua Stenseth is charming and hysterical as Nicholas’ Step-Dad and Old Vern.  Corley Pillsbury doubles as Nicholas’ Mom and the Enchantress.  Both characters are playfully intense.  Lindsay Zaroogian shows her broad range as Nicholas’ younger, goth sister and the optimistic fairy.  Not only does each cast member play an instrument throughout the performance (guitar, flute, mandolin, accordion, and kazoo), but they are part of the creative team who collaboratively wrote and composed the show along with Director, Jonathan Eric Foster and Producer / Managing Director, Sarah George.  Mr. Foster’s directing and staging is sharp and witty. 

Unfortunately, this was a short, one-weekend run.  Check Thicket and Thistle’s webpage and Facebook page for upcoming performance dates of What’s Your Wish?  Keep your eyes on this company.  They are doing unique and great work! 

  

Domenick Danza

Fun Home

Fun Home

Circle in the Square

February 17, 2016

Photo courtesy of Fun Home

Fun Home is an emotional journey of growing up and facing life’s hidden truths. It is a tender and realistic view of the world at that time in life when certain truths that have been held back are brought out into the open.  It is the emotional triumph when you make sense of it all and are able to face life with hope and truer sense of yourself.  These are very big statements to make about a Broadway musical, yet to sit in the theatre and experience the lives of the characters unfold in a multi-dimensional manner is rare.  The story itself, based on the graphic novel by Alison Bechdel, is funny, honest, and moving.  The book and lyrics by Lisa Kron are bold and riveting.  The music by Jeanine Tesori engulfs and engages you in the dichotomy of both the whimsy and stark realities of the characters and situation.

Beth Malone & Micheal Cerveris
Photo courtesy of Fun Home

The main character, Alison (played by Beth Malone), tell us in the first scene that she and her dad (played by Michael Cerveris) are gay and that he killed himself by stepping out in front of a speeding truck.  That very tragic proclamation is quickly forgotten as you follow the playful antics of Alison (played by Gabriella Pizzolo as a child) and her two brothers (played by Zell Stelle Morrow and Oscar Williams).  She comes out while in college (played at that age by Lauren Patten) and begins to face the darker truths of her family life.  The fact that we simultaneously see Alison played by three actors at specific phases of her life combined with the amazing writing and emotional score allows the story to peel away and be revealed one layer at a time.   This gives the

Judy Kuhn & Sydney Lucas (original cast)
Photo courtesy of Fun Home

perspective of Alison’s memory a dominant role in the narrative as facts open up and then folds back in non-chronological order.   The most heart-rending moment is by Judy Kuhn as Alison’s mother in the song “Days and Days.”  It is a courageous confession of the disappointments in her marriage and the hopes for her daughter.  Ms. Kuhn delivers it flawlessly.

The set design by David Zinn and lighting design by Ben Stanton are phenomenal.  The flow from one moment to the next is conceived and conveyed brilliantly.  The design is in the scheme as set pieces and furniture rise up from beneath the floor, then descend to reappear on the other side of the stage.  They utilize the capacity

Photo courtesy of Fun Home

and technology of the space with carefully crafted expertise.

Everything you heard and read about Fun Home is true.  It is sure to be running for a long while, yet don’t put off seeing it.  It is a work of theatre that needs to be experienced first-hand. 

Domenick Danza

Pericles

Pericles

Theatre for a New Audience

February 18, 2016

Photo courtesy of Theatre for a New Audience

Pericles is presently previewing at Theatre for a New Audience.  The production is magnificently directed by Trevor Nunn.  It brandishes richly designed costumes by Constance Hoffman and whimsically composed music and song by Shaun Davey.  It is written that this play was a collaborative work between William Shakespeare and George Wilkes.  George Wilkes is believed to have written about half the script, yet Shakespeare was given full credit when it was first published in 1609.  This production is a must see for any Shakespeare scholar or enthusiast, or anyone looking to embark on a daring adventure.

The Cast of Pericles with Director, Trevor Nuinn
Photo courtesy fo Theatre for a New Audience

Pericles, King of Tyre (played by Christian Camargo) seeks the hand of King Antiochus’ daughter (played by Sam Morales).  In order to win her hand, he has to answer a riddle.  When he realizes the riddle points to proof of incest between the King and his impending bride, he embarks on a sea journey to escape retribution.  This extensive journey leads to a number of perilous adventures, including his meeting Thaisa (played by Gia Crovatin), who he later weds.  On his return voyage to Tyre, Thaisa dies in childbirth.  Stricken with grief, he leaves the infant, Marina, in the care of trusted fiends Cleon (played by Will Swenson) and Dionyza (played by Nina Hellman).  The final act is the poignant journey to reunification.

The play is narrated in verse and song by poet and storyteller, Gower (wonderfully played by Raphael Nash Thompson).  The tale he weaves contains tempests, pirates, a burial at sea, far off exotic lands, and noblemen and kings.  Nothing is left out of this adventure.  The entire cast is phenomenal.  The overall mood of the play is light, yet when tragic events happen, they are serious, real, and heartfelt.

Pericles opens at Theatre for a New Audience on February 25 in downtown Brooklyn.  Put it on your must see list!

Photo courtesy of Theatre for a New Audience

Domenick Danza

Blackbird

Blackbird

Belasco Theatre

February 17, 2016

Photo courtesy of Blackbird

I wanted to see Blackbird when I first received an advertisement in the mail.  It is starring Jeff Daniels and Michelle Williams.  When I took my seat at the theatre and chatted with the person next to me, I realized that I knew nothing about the play or the playwright, David Harrower.  My expectations were high because of the stars, so I allowed myself to experience the unknown.  The writing is bold, suspenseful, and emotionally engaging.  The play is riveting and jaw-dropping. 

Photo courtesy of Blackbird

Jeff Daniel’s character is visited by Michelle Williams’ character at his workplace at the end of a long day.  Their history has caused him great agitation.  After about twenty minutes it is revealed.  He gains some sense of composure, which makes her nervous.  The back and forth of power continues until they each have moments of revelation and brutal honesty in two intense and superbly delivered monologues where they face their truths and fears.  The questions remain: Which is truth and which is fear?  Who is the predator and who is the prey?

Joe Montello brilliantly directs this skillfully crafted, intricate play.  Michelle Williams amazingly creates a quirky, concise, bold, and fragile character.  Jeff Daniels commands the stage with frailties and determination.  Each character gains control at different times during the performance, revealing the depth of their complexities.  The set, designed by Scott Pask, and lighting, by Brian MacDevitt, is stark, raw, and realistic… and just right.

Presently in previews, Blackbird opens on March 10 and runs for only seventeen weeks.  Get a ticket immediately!  I recommend going into the theatre not knowing the details and circumstances of the plot.  The experience will shock and enthrall you! 

Domenick Danza

Tennessee Williams 1982

Tennessee Williams 1982

Playhouse Creatures Theatre Company

Walkerspace

February 14, 2016

Photo courtesy of Playhouse Creatures Theatre Company

Tennessee Williams 1982 is Playhouse Creature Theatre Company’s production of two lesser known and obscure pieces by Tennessee Williams.  A Recluse and His Guest is a world premiere and The Remarkable Rooming-House of Mme. LeMonde is a New York premier.  Both pieces were completed a year before the playwright’s death (hence the title).  The works are very dark and pessimistic in nature.  They contain graphic sexual abuse scenes.  The main characters in both works are seeking a safe refuge, one by continually moving forward, the other by reverting to a place of optimistic memory.

A Recluse and His Guest takes place in “a far northern town in a remote time.”  Nevrika, a wanderer (played by Kate Skinner) takes shelter with a recluse, Ott (played by Ford Austin).  In a short time she manages to build a home for herself and help him emerge from his fearful hiding.  His deep seeded trepidations eventually push her away.  She comes to a realization, “I think it is life to go on even when it is death to.”

Declan Eells & Kate Skinner in
The Remarkable Rooming House of Mme. LeMonde
Photo courtesy of
Playhouse Creatures Theatre Company

In The Remarkable Rooming-House of Mme. LeMonde we meet Mint (played by Jade Ziane), a paraplegic living in an attic room of Mme. LeMonde (played by Kate Skinner).  He is sexually abused by LeMonde’s son (played by Declan Eells) on a daily basis.  Mint invites his old school chum, Hall (played by Darwin Patrick Williams), to tea.  Hall rudely neglects Mint and verbally abuses him by recanting his sexual encounters.  Bedlam erupts and is brought to an end by Mme. LeMonde who utters, “The loss of one fool makes room for another.”

Director Cosmin Chivu and the entire cast do an exceptional job creating reality out of these very obscure pieces.  The location of A Recluse and His Guest rings true, and the bizarre activities of The Remarkable Rooming-House of Mme. LeMonde are motivated by primitive and genuine need.  Strong performances by Kate Skinner, Ford Austin, and Jade Ziane make this a production worth seeing.  Scenic design by Justin West and lighting design by John Eckert are exceptional.  Their use of the space is unique and ingenious.  Director Cosmin Chivu and choreographer Quentin Madia creatively utilize the layout gaining maximum effectiveness and interest in the events that move both plays forward.

Tennessee Williams

It is difficult to gain an accurate perspective of a play when the playwright does not participate in the developmental process that comes with rehearsing its world premiere.  Being that as it may, if you are a Tennessee Williams scholar, aficionado, or fan, this production is for you.  Presently in previews, Tennessee Williams 1982 opens on February 21 and runs through March 13 at Walkerspace on 48 Walker St. in SoHo.

Domenick Danza

Smart People

Smart People

Second Stage Theatre

Tony Kiser Theatre

February 7, 2016

Photo courtesy of Second Stage Theatre

I immediately bought a ticket to see Second Stage Theatre’s production of  Smart People because it is written by playwright Lydia Diamond.  I studied playwriting with her at Chicago Dramatists a number of years ago.  She focused on teaching how to write realistic and riveting dialogue.  Her script overflows with this specialty.  Her dialogue connects the characters on a visceral level, creates compelling relationships which leads to strong conflict, and draws your attention deeply into what drives the play forward.  The production has a few flaws, but Lydia’s writing is sharp and detailed.

The title speaks for itself.  The play is about

Joshua Jackson & Tessa Thompson
Photo courtesy of Second Stage Theatre

four smart people.  Brian (played by Joshua Jackson) is a Harvard professor conducting a study on racism, particularly how a person’s brain reacts when seeing images of people of different races.  Jackson (played by Mahershala Ali) is a surgeon immersed in his residency while simultaneously running a clinic for people at risk.  Ginny (played by Anne Son), also a Harvard professor, is a psychologist who specializes in working with Asian women adapt to American society.  Valerie (played by Tessa Thompson) is an actress who cleans houses to pay off the extreme debt from graduate school.  The lives of these four very smart people intertwine as they emotionally relate and respond to one another based on their racial upbringing, self-image, and stereotypical expectations.  The deeper level of conflict surfaces when they choose to directly share their points of view on race relations.

Tessa Thompson & Mahershala Ali
Photo courtesy of Second Stage Theatre

The four powerhouse actors skillfully deliver these multi-dimensional characters with energy and vitality.  Their relationships are true and their emotional portrayals honest.  Unfortunately, there are times when they move in and out of the light.  Jason Lyons made some very bold choices in his lighting design, yet it does not always illuminate the playing areas completely.  The projections, designed by Zachary G. Borovay, create a strong atmosphere, yet spread over the set in a way that distorts the images.  Scenic design, by Riccardo Hernandez, utilizes the vast stage at the Tony Kiser Theatre, yet take away from the impact of the more intimate scenes.

Smart People runs at Second Stage Theatre through March 6.

Domenick Danza

An Afterthought:

When I got to the box office to pick up my ticket, the matinee had just let out.  There was a group of women heavily into a conversation about the social stereotypes and racial bias the show presented.  Since I just read a very poor blog review about the show, I listened into the discussion to get a different mindset before viewing the performance.  The women were committed to their points of view and impassioned by how the show broadened their frame of understanding. 

When I left the theatre that evening, I found myself agreeing with a few comments I heard earlier, yet I did not think the play made a strong statement about race in America.  The play did resonate with me, and after a few days of thinking about it, I realized that the depth of the characters and juxtaposition of the situations made a stronger statement than I had originally realized.

The two male character, one white and on black, are both frustrated with a specific work situation.  When each character voices their frustration, they face similar repercussions, yet are viewed very differently.  There is a strong commonality to their frustration, yet these two very intelligent, well-educated, hard working men cannot see beyond their own self-image and racial bias in order to bond over their situations. 

Playwright Lydia Diamond

This is one example of the subtle and powerful style in which Lydia Diamond chose to write this play.  There is a lot there, under the surface.  It is the purpose of theatre to make us think.  A catharsis occurs when we are able to view ourselves and the world differently after a shared experience.  Smart People is that kind of play.  See it if you want to understand yourself differently, but don’t expect it to be handed to you with ease.  You’re going to have to think, and that’s what makes good theatre.

Misery

Misery

Broadhurst Theatre

February 7, 2016

Photo courtesy of Misery 

Misery has been one of my “must sees” this season.  With its limited run quickly coming to an end, I resigned myself to the fact that I was probably not going to get to see it.  A little push to the TKTS booth in Time Square for a Sunday matinee was all I needed.  It was well worth the wait.  The production was as funny and suspenseful as I hoped.

Laurie Metcalf did not disappoint as Annie Wilkes, the role that won Kathy Bates an Academy Award and a Golden Globe in 1990.  She truly made the role her own.  She was likeable and caring at first, then gradually revealed her darker and more gruesome sides in smooth, justifiable transitions.  Making his Broadway debut, Bruce Willis maintained a strong presence as Paul Sheldon.  His character remained calm and rational in the face of life threatening danger.  There were a few jarring and terrifying moments that, even though expected, were highly effective.

Bruce Willis & Laurie Metcalf
Photo courtesy of Misery

Playwright William Goldman, who also adapted the movie version from the Stephen King novel, created a concise ninety-minute, three character version of this gripping tale that was entertaining and frightening.  David Korins’ turn table set design created a sense of entrapment while also allowing for location changes.  The lighting (by David Weiner), sound design (by Darron L, West), and original music (by Michael Friedman) established a clear time line and further developed the mystery and suspense that enhanced Mr. Goldman’s compact script.

Photo courtesy of Misery

The most humorous and effective moment was in the final scene when Paul Sheldon crosses to a microphone on stage to speak about the release for his new book.  The audience applauded and cheered for Bruce Willis, which was the perfect response his character would have received from an audience attending his speech.  The only weak spot was the climactic fight scene where Paul Sheldon overtakes Annie Wilkes.  Its lack of intensity could have been due to its brevity, the actors being off their timing, or a little of both. 

If you have not yet seen Misery, there’s still time.  It closes on February 14.  You have a good chance of getting a discount ticket on TKTS in Times Square.  What are you waiting for?

Domenick Danza

The Humans

The Humans

Roundabout Theatre Company

The Helen Hayes Theatre

January 31, 2016

Photo courtesy of The Humans

The Roundabout Theatre Company’s production of The Humans has moved to Broadway’s Helen Hayes Theatre.  The script, written by Stephen Karam, is brilliantly crafted with strong dramatic action that keeps the audience riveted.  Director Joe Mantello directed a seamless ninety minutes of action that enthralls, entertains, and excites.  The cast of five naturalistically delve into the underlying issues that bubble beneath the surface of continuous holiday conversation.  They then boomerang back with understanding that tenderly defines the family network that the play so aptly and realistically portrays. 

Brigid (played by Sarah Steele) invites her family for Thanksgiving dinner.  She has just moved into a new apartment in lower Manhattan that she shares with her boyfriend, Richard (played by Arian Moayed).  Her mother, Deirdre (played by Jayne Houdyshell), is constantly dropping remarks about Brigid and Richard not being married.  Her father, Erik (played by Reed Birney), has been having trouble sleeping and shares one of his disturbing nightmares.  Her sister, Aimee (played by Cassie Beck), is suffering from gastric colitis, has recently broken up with her longtime partner, and is being let go from her law firm.  Momo, her grandmother (played by Lauren Klein), is suffering from dementia and violent outbursts.  The “normal” family holiday stress drives the dinner conversation, revealing a few serious emotional scars.  The evening culminates in an announcement that shakes the foundation and security of this close family unit.

Sarah Steele, Arian Moayed, & Jayne Houdyshell
Photo courtesy of The Humans

This is a true ensemble piece with five strongly developed characters.  Each one carries a storyline of their own.  It is their careful and deliberate intertwining that makes the play engaging.  All the actors are fully committed and create a web of complex relationships that are realistic, truthful, and endearing.  The set, by David Zinn, is an ingenious split level design that effectively allows action to be viewed simultaneously.  The lighting, by Justin Townsend, and sound, by Fitz Patton, create an atmosphere of mystery and suspense that builds as the play reaches its climax.  

Photo courtesy of The Humans

The Humans is performed without an intermission.  There is no late seating and the notice in the program says, “If you leave your seat for any reason during the performance, you will not be permitted to return.”  Rightly so.  The action of this play should not be interrupted once it begins… and should not be missed.  Get a ticket today!

Domenick Danza