God Bless You, Mr. Rosewater

God Bless You, Mr. Rosewater

New York City Center Encores! Off-Center

July 29, 2016

Photo courtesy of New York City Center Encores

Kurt Vonnegut’s God Bless You, Mr. Rosewater, with book and lyrics by Howard Ashman and music by Alan Menken, is receiving a short, but well deserved concert staging with New York City Center Encores.  Kurt Vonnegut’s satirical tale is very relevant to a present day audience.  Its themes of philanthropic focus, greed, and giving respect to those in most need are strong and meaningful.  The production itself is simple and cleverly staged, placing the focus on the content and quality of the book and score.

When Eliot Rosewater (played by Santino Fontana) the President of the multi-million dollar philanthropic Rosewater Foundation, appears to be going off the deep end, he escapes to Rosewater County, Indiana.  This does not sit well with his father, Senator Rosewater (played by Clark Johnson), who believes his son’s problems are caused by drinking irresponsibly.  Eliot’s wife, Sylvia (played by Brynn O’Malley), follows him to support him in his commitment to help the downtrodden and forgotten population of the section of the United States named for his family.  Throughout his journey, Eliot is inspired by the philosophy in a series of fiction novels written by unsung hero Kilgore Trout (played by James Earl Jones).  Norman Mushari, a self-centered lawyer for the Rosewater Foundation (played by Skylar Astin), finds a document stating that if the President of the Foundations is declared legally insane, the control of the millions goes to the next family member.  Since Eliot and his wife have no children, Norman goes on a quest to seek out the lesser known Rosewaters and gain a cut of the wealth for himself. 

Santino Fontana as Eliot Rosewater
Photo courtesy of New York City Center Encores

“Since You Came to This Town” is sung at the end of Act I bringing the action together in a powerful and sentimental manner in which the people of Rosewater County express their appreciation for Eliot’s efforts.  This puts his level of “sanity’ in the proper perspective.  The tempo and pacing of Act II is heightened as Norman finds Rosewater relatives to claim the fortune and Sylvia has a breakdown, runs off to Europe, and then decides to divorce Eliot.  Other highlights in the score are “Dear Ophelia” in Act I, and “Eliot/Sylvia” in Act II.  These two songs are private moments between Eliot and Sylvia that reveal their sincere emotion for one another despite the craziness that is constantly going on around them.  “A Firestorm Consuming Indianapolis” is a view into Eliot’s experience during the war, which gives a deep insight into the motivations of the character’s behavior.

Photo courtesy of City Center Encores

From the Encores program notes:  “The original production of Kurt Vonnegut’s God Bless You, Mr. Rosewater opened on May 17, 1979 at WPA Theater.  After a 12-performance “showcase” run, it transferred to the Entermedia Theater, where it opened on October 14, 1979 and ran for 49 performances.”  The book and score have heart and humor that can be revisited and possibly well received if fully produced.  Kurt Vonnegut’s satirical humor is beautifully reflected in Howard Ashman’s witty lyrics and book.  Alan Menken’s score is charming and spirited.  The revisiting of this lighthearted, enjoyable, and rarely seen musical is a valuable endeavor by New York City Center Encores.

Domenick Danza

The Merchant of Venice - Shakespeare’s Globe

The Merchant of Venice - Shakespeare’s Globe

Lincoln Center Festival

Rose Theater

July 22, 2016

Phoebe Pryce & Jonathan Pryce
Photo courtesy of Shakespeare's Globe

The Shakespeare’s Globe production of The Merchant of Venice played at the Rose Theater on July 20 – 24 as part of the Lincoln Center Festival.  Directed by Jonathan Munby, this production was thought provoking and emotionally riveting.  The play contains Shakespeare’s classic comic elements (gender disguises, foolish servants, love winning out in the end), yet also contains a downfall for the Shylock character that is probably more heightened and tragic than any ever written.  This particular interpretation brings that contrast sharply into focus through its design, direction, and superb performances.

Jolyon Coy, Dorothea Myer-Bennet, Rachel Pickup,
& Dan Fredenburgh
Photo courtesy of Shaskepeare's Globe

When Shylock (played by Jonathan Pryce) demands the agreed upon pound of flesh from Antonio (played by Dominic Mafham) as payment on a default loan, he is viewed as unjust and unmerciful.  Portia (played by Rachel Pickup) and Nerissa (played by Dorothea Myer-Bennet) disguise themselves and a lawyer and clerk to enter the court and save Antonio from his fate.  Their cunning trick succeeds and wins them both a deeper loyalty from their husbands Bossanio (played by Dan Fredenburgh) and Gratiano (played by Jolyon Coy).  It is a happy ending for all until Shylock is forced to give up half his riches and, more painfully, relinquish his faith and become a Christian.  The cries of his daughter, Jessica (played by Phoebe Pryce) reveals the true horror of her father’s fate.  That response bleeds into an even more devastating moment when we witness Shylock being baptized and led off the stage a destroyed man. 

Dominic Mafham as Antonio
Photo courtesy of Shakespeare's Globe

This is a powerful production that lends itself to intense discourse of the effect that such an ending had on an audience when it was first presented (400 years ago) compared to that of a present day audience.  Every performance of this brilliant cast takes the audience deeper into the social and political intolerance of the time period.  Set in the Elizabethan era, the play allows audience members to view and experience the acceptably harsh treatment of those of a different culture or religion  Viewed from a present day lense, we can see how centuries of hate and ignorance strengthen and build in societies and can readily lend themselves to irreversible atrocities.

Photo courtesy of Lincoln Center Festival

Unfortunately, this production had a very limited number of performances in the Lincoln Center Festival.  The Drilling Company Shakespeare in the Parking Lot will be presenting The Merchant of Venice from July 28 through August 14.  These performances are FREE.  The Parking Lot is located at 114 Norfolk Street (east side of Norfolk Street between Delancey and Rivington Streets), behind The Clemente Soto Velez Cultural and Educational Center.  If you missed the Shakespeare Globe’s outstanding production, be sure to attend The Drilling Company’s.  It will be interesting to compare these two interpretations of this powerful Shakespeare play. I welcome your comments.

Domenick Danza

A Midsummer Night’s Dream

A Midsummer Night’s Dream

Shakespeare in the Parking Lot

The Drilling Company

July 15, 2016

Photo courtesy of The Drilling Company

The Drilling Company’s Shakespeare in the Parking Lot production of A Midsummer Night’s Dream is an updated, fast paced, Lower East Side experience that you MUST see.  Director and designer Kathy Curtiss keeps the action moving and building for a full two hours and twenty minutes without an intermission.  She unifies this relatively large cast with a coherent style and edginess that strikes a chord in the imagination.  Every moment is alive, and Shakespeare’s words ring loud and clear in the expansive outdoor space.

Photo courtesy of The Drilling Company

Mary Linehan is charming and feisty as Hermia.  She steals your heart and holds her own against Kathleen Simmonds’ fiery Helena.  Eddie Shields and Brad Frost are daring as Lysander and Demetrius.  These four actors light up the stage.  Their physical antics are keenly staged and skillfully executed.  Warren Jackson and Serena E. Miller are bold and earthy as Oberon and Titania.  Their chemistry is palpable and true.  Drew Valins is mischievous and sly as Puck.  His energy is high and focused.  He takes full advantage of his six foot stature to create a Puck that is unique, genuine, and engaging.  Michael Bernstein’s Egeus is authentic and endearing. 

  

Photo courtesy of The Drilling Company

The rustics are a strong ensemble of skilled and funny actors who make the most of every moment.  Their tale of Pyramus and Thisbe takes place in outer space.  The chink in the wall is an opening in a force field.  The lion is a fierce space beast.  Director Kathy Curtiss’ concept works amazingly well.  The scripted adjustments and spontaneous adlibs are witty and entertaining.  Jarrod Bates takes command as Peter Quince, and Jordan Felter amazes as Bottom.  He is honest, bawdy, sensitive, and hilarious.

This is The Drilling Company’s 22^nd season producing Shakespeare in the Parking Lot, and they keep getting better every year.  Don’t miss this exciting and unique interpretation of A Midsummer Night‘s Dream.  There is one more weekend of performances: Thursday, Friday, and Saturday, July 21, 22, and 23 at 8:00 PM.  The Parking Lot is located at 114 Norfolk Street (east side of Norfolk Street between Delancey and Rivington Streets), behind The Clemente Soto Velez Cultural and Educational Center.  Their next production, The Merchant of Venice, performs in the same location July 28 through August 14.  It is also sure to be great. 

Domenick Danza

A Class Act

A Class Act

New World Stages

July 9, 2016

Photo courtesy of A Class Act

A Class Act, a new play by Norman Shabel, reveals the behind the scenes strategies, secrets, and scheming that take place when a large American chemical company is facing a class action suit worth tens of billions of dollars.  The plot includes blackmail, dirty secrets, fast paced legal jargon, decisions made with integrity, and heated and foulmouthed conference table negotiations.  It is the plot twist at the end that makes the story unique and worth watching.  Director Christopher Scott savors the moment of this unexpected punch and allows the audience to piece together what actually motivated the characters to take action.

After the General Corporation loses a class action suit in California, they face a national class action suit for the same wrong doings.  Toxic waste has poisoned the water and caused cancer and death to millions of innocent victims.  Yes, the premise is the same as what won Julia Roberts her Academy Award in Erin Brockovich, but in this play the line between the good guys and the bad guys is constantly blurred.  There are indications of themes that drove Ibsen’s An Enemy of the People that keep the tensions building to the end. 

Photo courtesy of A Class Act

David Marantz (as Edward Duchamp) delivers an impassioned monologue about the risks that large corporations take in developing products that improve the quality of lives of people around the world.  This moment levels the playing field by making the high profit bad guy into a valuable player in the progress of civilization  Mr. Marantz’s zeal lands this monologue with a genuine belief that brings the issue into an unrealized light.  Lou Liberatore (as Ben Donaldson) and Matthew DeCapua (as Frank Warsaw) have very strong scenes where the integrity of their characters is on the line, and they rise above the threat.  They both create honest moments with grit and determination that raise the stakes for the plot.  The fiery scenes between Andrew Ramcharan Guilarte (as Ignatio Perez) and Jenny Strassburg (as Dorothy Pilsner) keep the action moving.  Even though they are lawyers on the same side, their opposing tactical perspectives create conflict and quicken the pace of the play.  Their comradery strengthens through their differences and carries the action through to the conclusion.

The cast of A Class Act
Photo courtesy of A Class Act

The script is not structurally sound, yet it does a great job of dramatizing legal details in direct and understandable language.  Its authenticity is unquestionable, since playwright Norman Shabel is himself a lawyer.  If you like stories about high stakes legal proceedings, this is the play for you.  A Class Act will be playing at New World Stages through September 4.

Domenick Danza

Small Mouth Sounds

Small Mouth Sounds

The Pershing Square Signature Center

July 3, 2016

Photo courtesy of Small Mouth Sounds

Small Mouth Sounds, written by Beth Wohl, follows six people during a week-long, silent retreat.  Each character’s story is revealed with little to no speaking.  They each sign up for the retreat for different reasons, ranging from seeking enlightenment or inner peace to grieving over a loss or conquering a serious illness.  Each is changed by their silent experience, though not necessarily the change they signed up for.  Director Rachel Chavkin skillfully weaves subtle detail with bold gesture, allowing this fearless ensemble to create truthful moments and achieve a dramatic arc with very few words.

Photo courtesy of Small Mouth Sounds

The set design, by Laura Jellineck, seats the audience on two sides of a long rectangular playing area.  Seated in the same folding chairs as the characters and enveloped by video (designed by Andrew Schneider) and sound (designed by Stowe Nelson), audience members become additional participants in the retreat.  The beauty of this design is that the Teacher’s lessons, humor, and disorganization are experienced directly, as well as through the bonding with the characters.  This effect heightens the emotional connection to the journey of the characters by personalizing the content of the teachings through the individual point of view of audience members.  

Small Mouth Sounds is a unique and daring concept that delivers an unexpected outcome.  This Ars Nova production showcases very strong performances by Max Baker, Babak Tafti, Brad Heberlee, Marcia DeBonis, Quincy Tyler Bernstine, Zoe Winters, and  Jojo Gonzalez.  Bess Wohl’s script is bold, funny, and daring.  The show runs through September 25 at the Pershing Square Signature Center.  If you are in the mood for something totally different, check it out. 

  

Domenick Danza