Twelfth Night

Twelfth Night

The Drilling Company

Bryant Park Shakespeare

July 29, 2017

 

Photo courtesy of Bryan Park Shakespeare

The Drilling Company’s production of Twelfth Night fills Bryant Park with laughter and frivolity.  Director Jane Bradley sets her groovy rendition amid the 1960s free-loving sexual revolution.  Her eye for detail brings out the romantic comedy in Shakespeare’s bawdy, error filled, classic tale.  Her staging and timing keep the action flowing smoothly and the laughs erupting spontaneously.  According to her program notes, Ms. Bradley’s goal was to create a setting that is “peculiar, outrageous, and above all else, a delightful escape,” and she gallantly succeeds.  

Viola (played by Natalie Smith) washes up on the shores of Illyria after her ship is lost at sea.  She disguises herself as a man, Cesario, in order to present herself to Orsino (played by Emmanuel Elpenard), the Duke she remembers as a friend of her deceased father.  Orsino takes her in his service and sends her to deliver a message to his love, Countess Olivia (played by Kathleen Simmonds).  Olivia, uninterested in Orsino, is madly attracted to Cesario, and begins to pursue him, not realizing he is a she.  Meanwhile, her loyal steward, Malvolio (played by Lukas Raphael), is taunted by adversaries in courts, causing him to make a fool of himself to the Countess.  When Viola’s twin brother, Sebastian (played by Brandon Reilly), arrives in Illyria, he is mistaken for the disguised Viola, adding mayhem to the identity confusion. 

The cast of Twelfth Night
Photo courtesy of The Drilling Company

This cast builds relationships that make the production ring true on many levels.  Emmanuel Elpenard is romantic, beguiling, and commanding as Duke Orsino.  He creates a strong bond with Natalie Smith’s Viola.  She is charming and resourceful, and keeps the audience absorbed and engaged throughout the show.  Kathleen Simmonds shines in her interpretation of Olivia.  She is dark, sexy, and bold, and equally matched by Lukas Raphael as Malvolio.  His skill gives him the range to play Malvolio’s serious, egotistical side and then effortlessly hit the comic timing in the later scenes.  Jack Socket (Sir Toby), Jarrod Bates (Sir Andrew), Haylee Louise Simmonds (Maria), and Rachel A. Collins (Fabian) deliver the laughs with warmth and heart by building honest camaraderie among their characters.  Rachel A. Collins’ physical characterization of Curio, a small role in two short scenes early in the play, is superb.  Brandon Reilly and Arif Silverman have a strong chemistry as Sebastian and Antonio that heightens the humor in the final scene as true identities are revealed.

Unfortunately, Twelfth Night only ran for one weekend in Bryant Park.  You will, however, have three weekends to see the upcoming production of The Tempest.  It opens August 25 and runs Fridays and Saturdays at 7:00 PM through September 9.  It will be directed by Lukas Raphael, and is sure to be captivating.

Photo courtesy of The Drilling Company

In addition, be sure to see The Drilling Company’s Shakespeare in the Parking Lot production of Henry VI Part 3, directed by Artistic Director Hamilton Clancy.  It runs Thursdays, Fridays, and Saturdays at 7:00 PM through Aug. 12 at the Clemente Cultural & Educational Center Parking Lot.  Check the website for directions (shakespeareintheparkinglot.com).  All these shows are FREE.  You have no excuse not to attend. 

Domenick Danza

Angels in America Part Two: Perestroika

Angels in America

Part Two: Perestroika

National Theatre Live

BAM Rose

July 27, 2017

 

Photo courtesy of National Theatre Live

In the National Theatre Live screening of Angels in America Part Two: Perestroika, director Marianne Elliott transports the audience into a world where tenacious characters face their fears and obstacles with the sense of endurance they are prepared to carry forward into the next millennium.  In Part One the set was split into sections where one scene followed another in linear fashion.  In Part Two Ms. Elliott opens up the space so that the scenes overlap, unfold, and weave into one another.  This complements the way Tony Kushner breaks down the structure he sets up in Part One.  The story opens and becomes much more visceral and imaginary.  However, just when you are soaring in the avant-garde, he hits you with the human needs of the characters that bring you back to the truths of the events and frailty of human existence.  

Denise Gough & Andrew Garfield
Photo courtesy of National Theatre Live

My post from July 22 discusses Angels in America Part One: The Millennium Approaches.  The cast masterfully leads the audience through four and a half hours of emotional extremes in Part Two.  Nathan Lane’s portrayal of the ill and dying Roy Cohen evokes layers of pity, despair, compassion, and disdain.  He is riveting.  Andrew Garfield carries the audience through the complexity of Part Two, delivering the audience safely to a state of calm and understanding.  His performance is astounding, impactful, vulnerable, and truthful.  Susan Brown rises in Part Two as Hanna Pitt / Ethel Rosenberg.  She creates these two characters as enduring and persistent with an inner sense of compassion and acceptance.

  

Russell Tovey & James McArdle
Photo courtesy of National Theatre Live

The angels are portrayed as dark and foreboding.  Puppeteers (listed as Angel Shadows) create the wings of the lead angel (played by Amanda Lawrence) and move her around the stage.  These Angel Shadows also roll in the sets and props, shifting and connecting the action of the scenes.  The scene where Prior Walter wrestles with the angel is powerfully staged and emotionally enthralling. As Act III wraps up, Tony Kushner unravels the characters and events and makes clear and profound statements about forgiveness and the desire for life.

Nathan Stewart-Jarrett & Nathan Lane
Photo courtesy of National Theatre Live

Watching Angels in America offers a retrospective view of a very dark time of our not too distant past.  This perspective is very different from the way it framed the events of the day when it was first experienced in 1991, when the millennium was approaching.  Both ways, the message of hope is pervasive and valuable.  Thinking about how we as a country managed to move into the new millennium with a sense of optimism calls for a pause to the fatalistic sense of the present.  When did we abandon our sense of continuity and the inevitability of forward movement?  Prior Walters asks the angels for a sense of hope to propel him forward in his choice, which is to live.  Perhaps this is what we need to get a stronger sense of how to face the day. 

Andrew Garfield
Photo courtesy of National Theatre Live

As I said before, the National Theatre Live is an invaluable opportunity to experience high quality theatre that most of us, until now, have only been able to read about.  Take advantage of these affordable broadcasts and broaden your exposure.  Check out their website (ntlive.nationaltheatre.org.uk) for locations and dates of encore screenings of Angels in America. 

Domenick Danza

Napoli, Brooklyn

Napoli, Brooklyn

Roundabout at Laura Pels Theatre

Harold & Miriam Steinberg Center for Theatre

July 25, 2017

 

Photo courtesy
of Roundabout Theatre Company

Napoli, Brooklyn is a tale of the bond of sisterhood and the strength of maternal nurturing.  Playwright Meghan Kennedy weaves a story of an immigrant Italian family living in Park Slope, Brooklyn in 1960.  Her characters are tender, bold, brave, and daring.  Director Gordon Edelstein creates an atmosphere that is authentic, honest, and real.  The tumultuous events of the play are emotionally riveting, and the message will touch your heart.

Luda Muscolino (played by Alyssa Bresnahan) has three daughter, Vita (played by Elise Kibler), Tina (played by Lilli Kay), and sixteen year old Francesca (played by Jordyn DiNatale).  They all live under the explosive temper of their husband/father, Nic (played by Lev Gordon).  Francesca is in love with her best friend from school, Connie (played by Juliet Brett).  They are planning on stowing away on a ship to Europe to start a new life together.  When an unexpected disaster falls out of the sky, their lives disperse unexpectedly.

Alyssa Bresnahan as Luda Muscolino
Photo courtesy of Roundabout Theatre Company

This entire cast is superb.  Jordyn DiNatale, Elise Kibler, and Lilli Kay create a strong bond that keeps the play connected.  Ms. DiNatale is fiery and energetic.  Ms. Kibler is feisty and vocal.  Ms. Kay is stoic and solid.  Alyssa Bresnahan is magnificent as their mother, Luda Muscolino.  She creates a devoted, loving, maternal character who bridges the events of the play with consistency and strength.  Lev Gordon creates a volatile character in Nic Muscolino.  Ms. Kennedy writes a clear and well-developed background for this character, and Mr. Gorn plays him with an emotional charge that propels the action of the play forward.

Elise Kibler, Lilli Kay, & Jordyn DiNatale
Photo courtesy of Roundabout Theatre Company

If you want to see a heartwarming story that will move you and leave you with a message of strength and endurance, this is the play to see.  Its production values are as high as you would expect from any Roundabout Theatre show.  Napoli, Brooklyn is running at the Laura Pels Theatre through September 3.

Domenick Danza

Angels in America Part One: The Millennium Approaches

Angels in America

Part One: The Millennium Approaches

National Theatre Live

BAM Rose

July 20, 2017

 

Photo courtesy of National Theatre Live 

The National Theatre Live screening of Angels in America Part One: The Millennium Approaches is potent and poignant.  Director Marianne Elliott finds the rhythms in Tony Kushner’s writing, and allows them to build with great momentum.  The cast creates characters and relationships that are genuine, volatile, and relatable.

Tony Kushner subtitles Angels in America as “A Gay Fantasia on National Themes.”  First performed in 1991, the play explores the aids epidemic in the Ronald Regan era through the characters of Prior Walter (played by Andrew Garfield), his boyfriend Louis (played by James McArdle), well known conservative Republican attorney, Roy Cohen (played by Nathan Lane), his protégé, Joe Pitt (played by Russell Tovey), and Joe’s wife, Harper (played by Denise Gough).  Mr. Kushner’s juxtaposition of a gay couple, a Mormon couple (Joe and Harper Pitt), and conservative Republican values opens the door for political and moral issues of the time to be aired and debated.  Roy Cohen is sick with aids and haunted by the spirit of Ethel Rosenberg (played by Susan Brown).  Historically, Mr. Cohen was influential on Ethel Rosenberg’s death penalty decision.  Prior Walter, also sick with aids, is visited by his ancestors and the great profit, who has a message for the new millennium.

Andrew Garfield as Prior Walter
Photo courtesy of National Theatre

Andrew Garfield is deeply grounded and enveloped in his physical choices for the character of Prior Walter.  He is transformed.  His performance is honest and real.  Nathan Lane is strong as Roy Cohen.  He masterfully nails the humor, the coldness, and the magnitude of this character.  Denise Gough creates a Harper Pitt who is lost in addiction and delusion.  She makes the truth in Tony Kushner’s words ring with clarity and power.  James McArdle is perfectly neurotic and torn as Louis, offering insight into the emotional turmoil of the time.  Russell Tovey effectively portrays Joe Pitt as steadfast on the outside and tragically crumbling on the inside.

Nathan lane as Roy Cohen
Photo courtesy of National Theatre

The National Theatre Live is an invaluable opportunity to experience high quality theatre that most of us, until now, have only been able to read about.  Take advantage of these affordable broadcasts and broaden your exposure and limitations.  Check out their website (ntlive.nationaltheatre.org.uk) for screening locations and dates.  Angels in America Part Two: Perestroika will be shown at BAM Rose on Thursday, July 27 at 7:00 PM.  Visit their website for tickets (www.bam.org/#Theater), and be sure to check back here next week for a posting.

Domenick Danza

Hello Dolly!

Hello Dolly!

Sam S. Shubert Theatre

July 18, 2017

  

Photo courtesy of Hello Dolly!

Before you read on, I did not see Bette Midler in Hello Dolly!  Donna Murphy performs on Tuesday nights, and tickets are available at the TKTS booth.  I wanted to see the production and the cast of Tony winners and nominees, so I grabbed a ticket.  And, oh yes, my life is definitely better for it!  This is a stellar production that far exceeds any one name. The sets, the choreography, the direction, the orchestrations, the voices, and the full cast and chorus are incomparable.  Donna Murphy is spectacular.  This is classic musical theatre revived to perfection.

Matchmaker, Dolly Levi (played by Donna Murphy), has her eyes set on marrying Yonkers businessman Horace Vandergelder (played by David Hyde Pierce).  He, however, is ready to propose to Irene Molloy (played by Kate Baldwin).  Dolly also plans to get Horace to accept that his niece Ermengarde (played by Melanie Moore) is going to marry struggling artist Ambrose Kemper (played by Will Bolton).  Dolly has her hands full, so when Horace’s store clerk, Cornelius (played by Gavin Creel), and his coworker, Barnaby (played by Taylor Trensch), decide to play hooky from work and travel to New York City to find adventure, she is able to get everything in motion to achieve her goals.

Beanie Feldstein, Taylor Trensch, Kate Baldwin, & Gavin Creel
Photo courtesy of Hello Dolly!

Donna Murphy is joyous in the role of Dolly Levi.  Her voice is powerful and she makes the character her own.  David Hyde Pierce is a curmudgeon you root for.  You know he has a heart under his crusty exterior, and you rejoice when it is finally exposed.  In the song “Penny in My Pocket” he makes the most out of a momentary pause that give an insightful glimpse into his inner world.  Kate Baldwin creates an Irene Molloy with zest and gumption.  Her rendition of “Ribbons Down My Back” is fun and touching, light and revealing.  Gavin Creel’s Cornelius is innocent and eager.  The action of every one of his scenes is propelled forward by his energy.  Taylor Trensch and Beanie Feldstein are perfect together as Barnaby and Minnie Fay.  Their energy connects from the first moment they are seen together, and their naiveté is splendid.

Photo courtesy of Hello Dolly!

The scenic and costume design by Santo Loquasto is a bright and bold spectacle.  They set the mood and tone of each scene with the proper balance of reality and nostalgia.  Choreography by Warren Carlyle is crisp and alive.  The style is sharp and consistent.  It is the genius of director Jerry Zacks that brings it all together to deliver a musical theatre experience that feeds your soul and makes your spirit soar.

If you need to remember how great life can be, go see Hello Dolly!  It will hopefully be playing at the Shubert Theatre, showcasing one big name star after another, for years to come.

Domenick Danza

All’s Well That Ends Well

All’s Well That Ends Well

The Drilling Company

Shakespeare in the Parking Lot

July 15, 2017

 

Photo courtesy of Shakespeare in the Parking Lot

You must see The Drilling Company’s Shakespeare in the Parking Lot production of All’s Well That Ends Well.  Director Karla Hendrick has masterfully condensed this Shakespeare comedy down to an enthralling two hours without an intermission.  The show is clear, concise, bold, intelligent, and funny.  Ms. Hendrick’s understanding of pace and timing brought this superb cast to perform as a well-knit ensemble.  Once again, The Drilling Company Shakespeare in the Parking Lot reigns as the best outdoor Shakespeare experience in the city.

Anwen Darcy & Michael Bernstein
Photo courtesy of Shakespeare int he Parking Lot

When Helena (played by Anwen Darcy) is parted from Bertram (played by Adam Huff), she confesses to his mother, the Countess (played by Elowyn Castle) that she is in love with him.  Helena travels to France to find him.  She plans to use the herbs and remedies she inherited from her father to heal the King (played by David Sitler), and in return request he marry her to the man of her choosing.  She is successful in her plan, yet when she chooses Bertram, he is reluctant due to her lower social status.  This calls for another, more cunning plan to change his mind.

Mary Linehan & Elowyn Castle
Photo courtesy of Shakespeare in the Parking Lot

Anwen Darcy and Adam Huff are excellent as Helena and Bertram.  Their chemistry and attraction is strong.  They play the push/pull of Shakespeare’s comic love extremely well.  Mary Linehan reigns as LaVatch, servant to the Countess.  She captures your attention and flirts with your emotions.  She is equally matched by Michael Bernstein as Parolles.  His is bold and energetic.  The scenes they have together are scintillating.  Another amazing duo is Eric Paterniani and Jarrod Bates.  They play numerous roles and are always together.  Their characterizations and comic timing are impeccable.  Elaine Ivy Harris creates a strong willed Diana whose free spiritedness brings the lovers, Helena and Bertram, together in the end (Oops!  Spoiler alert… but this IS a Shakespeare comedy).

Photo courtesy of Shakespeare in the Parking Lot

All’s Well That Ends Well runs for one more weekend (Thursday, Friday, and Saturday, July 20-22, at 7:00 PM) at the Clemente Cultural & Educational Center Parking Lot.  Check the website for directions (shakespeareintheparkinglot.com). The Drilling Company’s summer season also includes Henry VI Part 3 from July 27 – Aug. 12 at the Parking Lot, and Twelfth Night and The Tempest at Bryant Park.  All these shows are FREE.  Make a plan to see them all!

Domenick Danza

Death of a Salesman

Death of a Salesman

Theater Mitu

at BAM Fisher

July 14, 2017

 

Justin Nestor as Willie Loman
Photo courtesy of Theater Mitu

Theater Mitu’s production of Death of a Salesman is presently running at BAM Fisher in downtown Brooklyn.  Artistic Director Ruben Polendo bestows this American classic with great depth due to his distinctive interpretation.  He uses masks, inanimate character representation, music, and bold variation in pace, tone, and style to magnify the truths in Arthur Miller’s writing.  The production is visually stunning, collaboratively conceived, and emotionally impactful.

The story follows the downfall of Willie Loman (played by Justin Nestor) as he reaches the end of his career as a traveling salesman.  His wife Linda (played by Kayla Asbell) stands by him and believes in him.  His sons Happy (played by Denis Butkus) and Biff (played by Corey Sullivan) grew up idolizing him, yet find it hard to support him as the realities of their lives become increasingly difficult to hide behind.

Kayla Asbell & Justin Nestor
Photo courtesy of Theater Mitu

Justin Nestor and Kayla Asbell are truly captivating as Willie and Linda Loman.  They are in sync throughout the two acts.  Their vigor is exuberant in scenes from the earlier, optimistic years of their characters’ lives.  Their physicality and vocal expression transition to illustrate the toll life has taken on them, succinctly expressing their overwhelming weariness.  Corey Sullivan brings a wide range to his interpretation to Biff.  His solid physical exterior is strongly juxtaposed by his fragile emotional interior.  Each shift in his demeanor is clearly motivated and justified in the text.  The football shoulder pads he carries with him are a powerful image for his character.  Denis Butkus uses remarkable vocal capacity in his interpretation of Happy.  His character is physically represented by a punching bag, which has a duality that plays effectively throughout the action of the play.  Puppetry by Attilio Rigotti and Xiao Quan bring numerous objects and lighting instruments to life representing all the supporting roles in the play.  The visual images are potent and riveting, and surprisingly evoke a strong emotional response.  This is the genius of this production.  Along with an original music by Ellen Reid and Ada Westfall, you are transported deep within your own psyche and filled up with Arthur Miller’s timeless message.  

Photo courtesy of Theater Mitu

This is the first Theater Mitu production I have experienced, and I am hooked.  Theater Mitu focuses on devising new collaborations as well as interpreting classic pieces.  Check out this company if you seek experimental interpretations that challenge your preconceived notions of traditional texts and theatre as an art form.  Death of a Salesman runs at BAM Fisher through July 23.

Domenick Danza

The Skin of Our Teeth

The Skin of Our Teeth

Voice Theatre

at Byrdcliffe Theater

July 8, 2017

 

Photo courtesy of Voice Theatre

Thornton Wilder’s The Skin of Our Teeth is a work that every American needs to see at this time of change and uncertainty.  Now running at Byrdciffe Theatre in Woodstock, NY, the Voice Theatre’s production of this Pulitzer Prize winning play is extremely well done.  Director Shauna Kanter works magic with a low budget and tremendously talented cast to deliver Thornton Wilder’s poignant and vital message with eloquence and spirit.

This three act play follows the Antrobus family through thousands of years of the turmoil.  They survive the ice age, the great flood, and still manage to rebuild after the Great War.  Thornton Wilder won the Pulitzer Prize in 1942 for this timely play that gave America a hopeful outlook in face of the events of World War II.  It is funny, thought provoking, and timeless in its theme of the inevitability of the survival of the human race.  Mr. Wilder utilizes classical, philosophical, and biblical references to highlight the valuable concepts mankind has at its fingertips, and must never lose sight of in the face of challenge.  He breaks numerous theatrical conventions of his day that remain fresh and innovative seventy-five years later.

Philip Mansfield has a strong presence as George Antrobus.  His character’s moments of doubt and weakness, which are vital to the action, are true and honest.  He builds back his courage with zeal and devotion.  Megan Bones hits every one of Mrs. Antrobus’ meaningful monologues with skill and care.  She shifts the pace and tone of her scenes in order to focus the audience’s attention on Mr. Wilder’s intention, then delivers his message with potent significance.  Christa Trinler’s Sabina is bold and funny.  In Act III she adjusts the character’s pitch and demeanor to bring the events of the play to its stunning conclusion.  Olivia Howell and Evan Sibley are superbly cast as Gladys and Henry.  Their characters mature and develop in each act, pushing the limits of their family relationships with honest vim.

Photo courtesy of Voice Theatre

Voice Theatre’s production of The Skin of Our Teeth is playing at Byrdcliffe Theater through July 23.  If you are upstate NY in the month of July, be sure to take in this show.  If you are looking to get away, this could be a great weekend trip.  They are selling out, so get your tickets on their website ahead of time (voicetheatre.org), and prepare to be revitalized by Thornton Wilder’s insight and optimism.

Domenick Danza

A Bronx Tale

A Bronx Tale

Longacre Theatre

July 5, 2017

 

Photo courtesy of A Bronx Tale

A Bronx Tale is an emotionally driven musical that takes the movie on which it is based to a deeper level.  The book by Chazz Palminteri, music by Alan Menken, lyrics by Glenn Slater, choreography by Sergio Trujillo, and direction by Robert DeNiro and Jerry Zaks all combine in the perfect telling of a moving and riveting story.  The second act builds to an emotionally powerful climax.  The cast creates characters who you want to embrace.  They tell a tale that you wish would never end.

When ten year old Calogero (played by Jonah Mussolino) witnesses a murder by a mob boss in his Bronx neighborhood, his life changes forever.  Calogero’s loyalties start to waiver between the love he has for his father, Lorenzo (played by Richard H. Blake) and the admiration he has for Sonny (played by Nick Cordero), the mob boss he did not rat on when he witnessed the murder.  It is not until eight years later when he starts falling for Jane (played by Ariana Debose), a black girl from Webster Ave., that he matures enough to recognize the difference between love and fear. 

Photo courtesy of A Bronx Tale

Bobby Conte Thornton is charming and slick as the older Calogero, who narrates the story in retrospect.  His character grows throughout the journey of the play.  His genuine fondness and esteem for the Bronx experience drives the story forward.  Nick Cordero is strong and commanding as Sonny.  You can see why Calogero looks up to him and follows him.  You can also feel Sonny’s heart open through the times he spends with C (his nickname for Calogero).  Richard H. Blake is endearing as Lorenzo.  The character holds firm to his beliefs.  He is driven by love for his son.  Mr. Blake powerfully delivers two riveting solos that give emotional weight to the story and create strong conflict for C’s character.  Lucia Giannetta plays Rosina, C’s mother.  She has only a few lines throughout the show, yet she performs a heartwarming solo in Act II that rounds off her character with a clear backstory and touching motivation.  Ariana Debose is energetic as Jane.  Her powerful singing voice rings beautifully.  She and Mr. Thornton have an authentic chemistry that propels Act II towards its captivating ending. 

Photo courtesy of A Bronx Tale

If you liked the movie of A Bronx Tale, you will love this musical.  If you’ve not seen the movie, go see this show right now!  It will fill your heart.  Hopefully A Bronx Tale will be running at the Longacre Theatre for a good long time.

Domenick Danza

Cloud 9

Cloud 9

The Seeing Place Theatre

The Access Theater Space

July 3, 2017

 

Photo courtesy of The Seeing Place Theatre

Caryl Churchill’s Cloud 9 is getting a fresh look with The Seeing Place Theatre.  This complex sexual farce explores sexual identity, family structure, and the effects of repression over a one hundred year span (1880 – 1980).  The strengths of the concept of co-directors Brandon Walker and Erin Cronican are the clarity in the parallels of the relationships and the straight forwardness of the style.

Act I takes us to a British Colony in Africa in1880.  Clive (played by Brandon Walker) is the protector of her Majesty’s domain and patron to his seemingly close knit family.  His wife Betty (played by Ari Veach) is in love with their family friend Harry (played by Robin Friend Stift), even though he is secretly attracted to men.  Besides, Clive is sneaking around with their widowed neighbor, Mrs. Saunders (played by Jane Kahler), and the governess, Ellen (also played by Jane Kahler) has a passionate crush on Betty.  To make it more intriguing, many of the female roles are played by men, and vice versa.  The first act ends violently, which should be expected when clear cut gender roles are disguised and turned upside down under Victorian repression.

The cast of Cloud 9
Photo courtesy of Russ Rowland

Act II takes place in 1980 England.  The sexuality of the characters is more openly explored, yet the Victorian roots of the characters make them doubt their choices and question their resistance to the expectations of their gender roles.  The underlying violence is ever present, and keeping their true selves under wraps is still a necessity.

Brandon Walker & Eriin Cronican
Photo courtesy of Russ Rowland

The Seeing Place Theatre is getting very well known for their strong ensemble and bold production choices.  This very challenging play unfolds moment by moment due to the company’s skillful approach.  They have a sharp focus on the value of the message in Ms. Churchill’s writing, and make is accessible and relevant to a diverse present day audience.  There are very impressive performances by Jane Kahler, Erin Cronican, Brandon Walker, Bill McAndrews, Sabrina Schlegel-Mejia, Robin Friend Stift, and Ari Veach.

The Seeing Place Theatre production of Cloud 9 is playing at the Access Theater space on 380 Broadway (4^th floor).  Tickets are only $15.  Check their website for tickets and directions.  It is a limited run through July 16.

Domenick Danza

Measure for Measure

Measure for Measure

Theatre for a New Audience

Polonsky Shakespeare Center

July 1, 2017

Photo courtesy of Theatre for a New Audience

The Theatre for a New Audience production of Measure for Measure brings this dark Shakespeare comedy to life with unexpected vim.  Director Simon Godwin sets the play in overtly promiscuous locations.  This strongly frames the need for severity and verifies the test for moral corruption.  As with every Theatre for a New Audience production this season, the design elements are well conceived and the casting is stupendous.

When the Duke (played by Jonathan Cake) is brought down by his own misconduct, he delegates his power to Angelo (played by Thomas Jay Ryan) in order to seek respite and reflect.  Angelo’s first act is to condemn Claudio (played by Leland Fowler) to death for lewd acts.  Claudio convinces his friend Lucio (played by Haynes Thigpen) to find his sister Isabella (played by Cara Ricketts) in order to persuade Angelo to be merciful.  Isabel, who is about to take her holy vows, agrees to speak on her brother’s behalf.  What ensues proves the Duke’s suspicion that corruption breeds from power.  He disguises himself as a monk to observe Angelo’s behavior and assist Claudio and Isabella in their fight for justice.

Thomas Ray Ryan & Cara Ricketts
Photo courtesy of Theatre for a New Audience

Cara Ricketts, Thomas Jay Ryan, and Jonathan Cake fearlessly lead this amazing cast and take the audience on a phenomenal journey of desire, doubt, and righteousness.  Jonathan Cake is commanding and magnanimous as the Duke.  His character is both flawed and charming.  He is strong and magnetic in the follow through of his cunning plan to expose Angelo’s true self.  Cara Ricketts masterfully discovers and exposes the many layers in the character of Isabella.  Her fears, her beliefs, and her loyalty all combine to deliver Shakespeare’s words with a fervent focus.  Thomas Jay Ryan’s Angelo is obstinate and strong willed.  The glimpse into his soul and desire is surprising at first.  The severity of his force and shame is brutal and real.  These three actors make bold choices with subtle nuances that set the stage on fire and engage the audience on numerous levels.

Jonathan Cake
Photo courtesy of Theatre for a New Audience

The final act is superbly directed.  The action builds steadily, bringing all the elements of the story to climactic brilliance.  There are strong performances by Hayes Thigpen, Merritt Janson, Oberon K.A. Adjepong, Christopher Michael McFarland, and January LaVoy.

Measure for Measure is playing downtown Brooklyn at the Polonsky Shakespeare Center through July 16.  Don’t miss it! 

 

Domenick Danza