Prodigal Son

Prodigal Son

Manhattan Theatre Club

New York City Center Stage I

March 26, 2016

Photo courtesy of Manhattan Theatre Club

I originally had a ticket to see John Patrick Shanley’s Prodigal Son at Manhattan Theatre Club when it was in previews.  Unfortunately, that was the Saturday of the big snow storm that caused the cancellation of all the Broadway and Off Broadway shows.  Due to the outstanding reviews and great word of mouth, I had trouble getting a ticket since then.  Lucky for me, I got to see it in the final weekend.

In the program notes, Mr. Shanley states that the play is “a true story for the most part.”  He continues to write, “I wish more generally that you could have shared my whole life with me, so we could discuss and compare.  These plays I write are the best I can do to make that possible.”  In this play he magnificently captures the desperation of a fiery adolescent who yearns to discover the road that will lead him to a great and productive life.  The play is full of passion and idealism, truth and desire. 

David Potters & Timothee Chalamet
Photo courtesy of Manhattan Theatre Club

Jim Quinn (played by Timothee Chalamet), a troubled teen from the Bronx, is given a scholarship to Thomas More Preparatory School in New Hampshire.  One of his teachers, Alan Hoffman (played by Robert Sean Leonard) takes him under his wing, and the wife of the Headmaster (played by Annika Boras) recognizes his talent and insight.  After a few outbursts and some daring rule breaking, the Headmaster (played by Chris McGarry) begins to think that the Jim’s scholarship was not in the school’s best interest.

Robert Sean Leonard & Timothee Chalamet
Photo courtesy of Manhattan Theatre Club

The performances are truly outstanding.  Timothee Chalamet is quirky and captivating in the lead role.  His physicality and Bronx accent are lyrical and poetic.  His character is overflowing with an unbridled vitality and lust for life.  Chris McGarry’s Headmaster Schmidt is complex and layered.  As his wife, Annika Boras is endearing and honest.  Robert Sean Leonard brings a subtly to the secret side of the character of Alan Hoffman that both stuns and cajoles. 

Photo courtesy of Manhattan Theatre Club

The set design by Santo Loquasto is rich and creative.  He minimally conjures the estate and mansion of the New Hampshire prep school, and gracefully move each scene on and off with style.  With original music composed by Paul Simon, the audience is easily drawn into the rhythm and tempo of the setting, and can look closely into the focus and motivations of the characters.

Mr. Shanley also served as director on this production.  Truly amazing!  It would be great to see him direct at Manhattan Theatre Club again next season. 

Domenick Danza

The Robber Bridegroom

The Robber Bridegroom

Roundabout Theatre Company

Laura Pels Theatre

March 20, 2016

Photo courtesy of
Roundabout Theatre Company

Roundabout Theatre Company’s revival of The Robber Bridegroom is creative and vivacious.  Director Alex Timbers and Choreographer Connor Gallagher have invigorated this “Mississippi Fairy Tale” with traditional story telling practices, flawless comic timing, and footstomin’ rhythmic patterns that make this show ninety minutes of high energized fun.  What they do on the small stage at the Laurel Pels Theatre is amazing. 

When the Bandit in the Woods, who “steals with style,” robs from Rosamund (played by Ahna O’Reilly), her father (played by Lance Roberts) asks his trusted friend, Jamie Lockhart (played by Steven Pasquale), to find the Bandit and restore his daughter’s honor.  Little does anyone know (except the audience) that the Bandit and Jamie are one in the same.  The plot thickens.  Rosamund realizes she has fallen in love with the Bandit.  Little Harp, a rival bandit (played by Andrew Durand), wants Jamie out of the picture.  Rosamund’s evil step mother (played by Leslie Kritzer) wants Rosamund dead.  After much expected Natchez-style mayhem, love wins out in the end.

Ahna O'Reilly & Steven Pasquale
Photo courtesy of Roundabout Theatre Company

The ensemble is strong and unified.  Their timing and vigor are impeccable.  Steven Pasquale is suave and commanding in the lead role.  Ahna O’Reilly’s singing voice is sultry and captivating.  Lance Roberts is endearing as father, husband, and wealthy land owner, Clement Musgrove.  Leslie Knitter is cunning and over the top funny as the envious step mother, Salome.  There are additional outstanding performances from Andrew Durand, Greg Hildreth, Evan Harrington, Nadia Quinn, and Devere Rogers.

The cast of The Robber Bridegroom
Photo courtesy of Roundabout Theatre Company

The set design by Danyale Werle extends out into the audience, creating a welcoming atmosphere that beckons involvement.  The lighting design by Jake DeGroot and Jeff Croiter effectively transforms the space moment by moment.  The costumes by Emily Rebholz are simple and effective.

If you are a believer in love, passion, and happy endings then this show is for you.  If you are not, then you really need to see this show.  Just go and have fun!  The Robber Bridegroom runs at the Laura Pels Theatre through May 29.

Domenick Danza

The Crucible

The Crucible

Walter Kerr Theatre

March 12, 2016

Photo courtesy of The Crucible

Director Ivo Van Hove exceeds all expectations with the Broadway production of Arthur Miller’s classic The Crucible.  His concept transcends all time periods and illuminates Mr. Miller’s intention by transferring its relevance to our present day struggles.  The structure of the script and majesty of the words are magnified under his direction.  The cast is superb.  They are viscerally connected to the material and one another.  They draw the audience in for the totality of the experience.

Saoirse Ronan & Ben Whishaw
Photo courtesy of The Crucible

Ben Whishaw’s portrayal of John Proctor is honest, bold, and stark.  His chemistry with Saoirse Ronan’s Abigail Williams is electric.  Ms. Ronan’s character manipulates the events of the play with a captivating confidence and composure.  This makes tangible what Elizabeth Proctor declares to her husband, that there exists an unspoken “promise” made during intimate acts between a man and a woman.  Sophie Okonedo brings a new dimension to Elizabeth Proctor that rings true.  Her performance reverberates with a deeper level of Arthur Miller’s subtext.  Bill Camp is remarkable as Reverend Hale.  There is a gradual peeling away of his understanding of the events, which causes a clearly motivated transition in his conviction.  The devastating effect this has on his ego and belief system is blatantly expressed.  Jason Butler Harner authentically reveals a vulnerable, petty, and insecure side of Reverend Paris that clearly illustrates the kind of unrest that exists within a community in order to justify the extreme reaction the events generate.  Tavi Gevinson is wildly constrained as Mary Warren.  Ciaran Hinds commands the stage as Deputy Governor Danford.  

Photo Courtesy of The Crucible
at the Walter Kerr Theatre

The design of the production is powerful.  The play preaches black and white issues, good vs. evil, God and the devil.  There are no grey areas in these debates, yet the design is all shades of grey.  The scenic design, by Jan Versweyveld, is a unit set that evokes a classroom from the 1950s with hints and accents from earlier decades as well as the present.  The costume design, by Wojciech Dziedzic, also transcends time period with disheveled catholic school girl uniforms, conventional overcoats, and unrestricted trousers.  The lighting, also designed by Mr. Versweyveld, allows the space to change as the sun rises through the windows, birds swarm and disperse, and the devil blows in from the outside.  The original score by Philip Glass enhances every moment, whether it be intimate or jarring.

Ivo Van Hove’s work needs to be experienced first-hand.  You need to sit in the theatre and hear how words suddenly have a different meaning when heard within his context.  He has an uncanny ability to strip down distraction so that every word of the playwright has a strong and clear purpose.  In this production there are a few jaw-dropping images that encapsulate bold thematic messages: a homogenous classroom, a young girl floating in midair, a wolf crossing the stage and staring out at the audience.  You must see it yourself to feel the powerful impact of his work. 

Domenick Danza

Angel Reapers

Angel Reapers

Signature Theatre

The Pershing Square Signature Center

March 6, 2016

Photo courtesy of Signature Theatre

Angel Reapers is a collaborative project between Martha Clarke and Alfred Uhry presently running at Signature Theatre’s Pershing Square Signature Center.  When you enter the theatre, you are on the set, which is a Shaker Meeting House.  Ladder back chairs are sporadically placed, and one male character is seated in meditation.  Right away you sense this experience is going to be unique and intimate.  With equal seating on two sides of the playing area, you are ready to be drawn into the lifestyle, worship, and beliefs of the Shaker community.  The next hour and ten minutes does not disappoint, yet the experience is not as uplifting as you would hope.

Photo courtesy of Signature Theatre

One by one the characters enter the meeting house dressed in identical costumes that remind you of the Amish or Puritans.  You get a sense of some individuality by their walk and pace.  After an interval of silence, a joyful laugh spreads from character to character.  This leads to song (The Shaker Hymn, “Simple Gifts”) and a sharing of the belief and rules they live by.  The story is told through movement, song, and short snippets of dialogue and monologue that offer insight into what makes this community strong.  You also find that they are united not only in their beliefs and joy of a simple life, but in their shame and isolation.

Photo courtesy of Signature Theatre

Ms. Clarke’s movement patterns are structured and rhythmic.  The staccato stomping and clapping is counterbalanced by sweeping, graceful movement illustrating the dichotomy of the community’s lifestyle.  The ensemble carefully creates unity and conformity while offering brief glimpses into their individuality.  This is the wonder of the piece.  You get an almost desperate sense of their underlying need for personal connection, while getting an even stronger sense of fulfillment in compliance.  It is when you see two characters ostracized and banished for breaking away that you gain another layer of understanding of the fear that keeps them together.

In this production Martha Clarke offers a visceral insight into the lives of the Shaker community.  It is simple, yes, but hardly joyous.  Angel Reapers has been extended through March 20.

 

Domenick Danza

Boy

Boy

Keen Company

The Clurman Theatre / Theatre Row

February 27, 2016

Photo courtesy of Keen Company

Keen Company is partnering with Ensemble Studio Theatre to present the world premiere of Boy, written by Anna Ziegler.  Based on true events, the script brings to light the nature vs. nurture debate with the respect to gender.  The action of the play takes place between 1968 and 1990.  This well constructed script is sensitively directed by Linsey Firman and brings a proven perspective on the topic of gender identity.

After the botched circumcision of one of their twin boys, Sam (played by Bobby Steggert) is raised as a girl, Samantha.  He/She is treated and studied by Dr. Wendell Barnes (played by Paul Niebanck), who believes that gender roles can be nurtured.  When Samantha’s parents (played by Heidi Armbruster and Ted Koch) realize that the strong rejection of the imposed gender is proof that this theory is wrong, they decide to reverse their decision.  The play is an emotional chronicle of struggle, betrayal, and facing the truth.

Bobby Steggert is honest and subtle in his portrayal of the main character.  We see him play him/her from age six through twenty-three.  His range and transitions are strong and smooth.  He is matched by Rebecca Rittenhouse, who plays his love interest at age 23.  Her performance is genuine and her character is filled with a pragmatic level of heart and hope.  Paul Niebanck, Heidi Armbruster, and Ted Koch all play their characters’ objectives with a strong commitment that allows their points of view to be clearly voiced and understood. 

Linsay Firman’s direction finds the right balance that permits the science and emotion of this play to reverberate without bias.  Anne Ziegler’s writing provides strong evidence for heated debate on the topic of gender identity.  Sandra Goldmark’s set design clearly reflects the theme of duality that turns the world of the characters upside down.

Boy runs through April 9 at the Clurman Theatre on Theatre Row.  It is a well-produced play on a controversial topic that is well worth seeing. 

Domenick Danza