Torch Song

Torch Song

Second Stage Theater

The Helen Hayes Theater

October 27, 2018

Photo courtesy of Second Stage Theater

I saw Torch Song Trilogy at what is now The Helen Hayes Theater thirty-five years ago.  I did not see Harvey Fierstein in the role of Arnold, but it was a memorable experience just the same.  What stands out for me watching the Second Stage Theater production of Torch Song, presently in previews on Broadway in the very same theater, is the writing.  Harvey Fierstein’s dialogue is astounding.  The way he unravels the action to reveal the depth of his characters is skillful and inspiring.  They state their hopes and dreams from the top of the show, then face their truths, fears, and obstacles to not only achieve them, but to accept them in the unexpected form in which they arrive.  Director Moises Kaufman has made the revisit of this phenomenal play a profound journey of hope, love, and self-respect.  

Michael Urie as Arnold
Photo courtesy of Second Stage Theater

The play begins backstage in 1972 as Arnold (played by Michael Urie) is getting ready for a performance.  He is a drag queen.  He shares his secret wish, then he meets Ed (played by Ward Horton), the International Stud of his dreams.  Over the next ten years we see Arnold’s rough and rocky journey of making his dreams a reality.  Ed struggles with his sexuality and decides to marry Laurel (played by Roxanna Hope Radja).  Arnold’s young boyfriend Alan (played by Michael Hsu Rosen) is killed in a gay bashing incident outside their apartment.  Arnold faces his greatest emotional challenge when he confronts his mother (played by Mercedes Ruehl) and tells her he is adopting a gay teenager named David (played by Jack DiFalco).

Ward Horton, Jack DiFalco, Michael Urie, & Mercedes Ruehl
Photo courtesy of Second Stage Theater

Michael Urie’s Arnold is full of guts and heart.  It is a truly phenomenal performance.  His character grows over the duration of the play, yet he never loses his sense of humor.  This is Arnold’s core, how he copes, survives, and thrives.  Ward Horton delivers a fallible, flawed, and extremely likeable Ed, who never stops yearning for more, even at the expense of others who care deeply for him.  He and Mr. Urie are remarkable together.  Their relationship is full of fire and sincere understanding.

Mercedes Ruehl is sold and stoic as Mrs. Beckoff, Arnold’s mother.  The love she feels for her son is matched only by her inability to see past what she cannot relate to or accept.  The confrontation scenes between Ms. Ruehl and Mr. Urie are brutal, overflowing with honesty, and driven by the mutual need for acceptance and self-respect.

Roxanna Hope Radja, Ward Horton, Michael Urie,
& Michael Hsu Rosen
Photo courtesy of Second Stage theater

Jack DiFalco delivers hope as David, the soon to be adopted gay son of Arnold.  His optimism  and humor are infectious and drive each of his scenes.  Michael Hsu Rosen and Roxanna Hope Radja create genuine moments as Alan and Laurel during the “Fugue in a Nursery” scene before the intermission.  Their presence is strongly carried forward into the final act whenever they are referred to, even though they do not appear. 

This is a remarkable cast, brilliantly directed in a timeless piece of theatre.  Go see the Second Stage Production Torch Song at The Helen Hayes Theater for a good laugh… and a great cry. 

Domenick Danza

King Kong

King Kong

The Broadway Theatre

October 20, 2018

Photo courtesy of King Kong

I believe the measure of a good story is in how well it is told, and the Broadway production of King Kong tells this well-known tale with brilliant, captivating theatricality.  Drew McOnie, Director/Choreographer, partners with a creative team of designer to deliver a truly mesmerizing production.  Scenic and Projection Designer Peter England creates jaw-dropping seascapes and monumental structures.  The Video & Projection Image Content by Artists in Motion keeps the action moving at a phenomenal pace with breathtaking specificity.  Lighting Designer Peter Mumford pulls out all the stops while keeping your eyes focused on every moment.  Sound Designer Peter Hylenski creates a giant with earth shaking sound.  Drew McOnie’s choreography is mammoth.  It sets the tone for the production from the opening scene and continually entertains with movement that metaphorically echoes the dramatic action of the story.

Christiani Pitts as Ann Darrow with Kong
Photo courtesy of King Kong

Christiani Pitts portrays Ann Darrow, the heroine and love interest of Kong, as determined and fearless.  She does not back down or scream in fear.  Instead she stands up for herself and her beliefs, giving Kong the courage to fight back.  Her characterization is more reflective of a woman of the twenty-first century than one of 1931, when the show takes place.  This gives the story a new dimension.  Her dream of stardom, inner conflict, and personal growth are the through-line of the plot.

Ann Darrow & Eric William Morris
Photo courtesy of King Kong

Eric William Morris plays Carl Denham, the filmmaker who captures Kong.  His character is bold and cunning, and juxtaposed by the character of Lumpy, played with heart and tenderness by Eric Lochtefeld.

The true star of this show is Kong, a twenty foot beast operated by ten on-stage puppeteers.  These amazing artists are visible throughout the productions, as are the cables holding up the giant animal.  They become one with the creature.  Their movements are precisely choreographed.  Watching them create the illusion is part of the theatricality of the experience.  Kudos to Gavin Robins, the Kong/Aerial Movement Director, and Jon Hoche, the Voice of Kong.

This show is far more than astonishing spectacle.  It is brilliant theatricality that can only be accomplished through a high level of collaboration, ingenuity, and commitment.  King Kong is presently in previews at The Broadway Theatre.  It is a mind blowing experience. 

Domenick Danza

Oklahoma!

Oklahoma!

St. Ann’s Warehouse

October 13, 2018

Photo courtesy of St. Ann's Warehouse

If you’d have told me that a production of Rogers & Hammerstein’s Oklahoma! could have a gut-wrenching emotional impact and offer a brutally honest point of view as to who we are as Americans, I’d have said that is not conceivable.  Yet, the Bard Summerscape production at St. Ann’s Warehouse in the Dumbo section of Brooklyn, does just that.  Director Daniel Fish reframes this American classic, making it startlingly relevant to a present day audience.  The production revels in the idealistic goals of the characters, then puts a truthful spotlight on the length they are willing to go to achieve them.  More importantly, it illustrates how their bond tills the soil for future incongruity.

Rebecca Naomi Jones as Laurey & Damon Daunno as Curly
Photo courtesy of St. Ann's Warehouse

The cast creates one honest moment after another, showing the power and quality of Oscar Hammerstein’s book.  They deliver layer upon layer of richness, depth, humor, and intensity to these well-known characters, who we have seen over and over.  This phenomenal work gives us an opportunity to meet them for the first time.  There are riveting performances by Damon Daunno (Curly McLain), Rebecca Naomi Jones (Laurey Williams), Mary Testa (Aunt Eller), Ali Stroker (Ado Annie), Patrick Wail (Jud Fry), James Davis (Will Parker), Michael Nathanson (Ali Hakim), Gabrielle Hamilton (Dream Laurey), Mitch Tebo (Andrew Carnes), Mallory Portnoy (Gertie Cummings), Anthony Cason (Cord Elam), and Will Mann (Mike).  Their chemistry, timing, physicality, and vocal characteristics are flawless. 

Damon Daunno as Curly with the Band
Photo courtesy of St. Ann's Warehouse

Daniel Kluger re-orchestrated the Richard Rogers score for a seven piece country/western style band.  His work puts a strong focus on the vocals, luminously highlighting the Hammerstein lyrics.  The small, diverse, and powerful cast shines vocally, both in skill and styling.  The newly conceived choreography by John Heginbotham rides on the structure and story advancing format set by Agnes DeMille, yet delivers it in a powerfully visceral and original manner that is both engaging and deeply psychological. 

Mary Testa as Aunt Eller & James Davis as Will Parker
Photo courtesy of St. Ann's Warehouse

The interpretation of the ending is shocking.  Once the main characters achieve their goal, the community bond allows them to get away with the murderous actions they felt justified to execute.  They carry the weight of that burden forward as they begin their lives together and their territory becomes a state.  The finale is sung with brutal determination while characters are covered in blood.  It is upsetting… and brilliant, bringing new and darker meaning to the lyrics, “We know we belong to the land, and the land we belong to is grand.”  

The Bard Summerscape production of Rogers & Hammerstein’s Oklahoma! is running through November 11 at St. Ann’s Warehouse.  Do whatever you need to do to get a ticket.  It is a bold, risky, and brave production that will sit with you for a long time.

Domenick Danza

I Was Most Alive with You

I Was Most Alive with You

Playwrights Horizons

October 7, 2018

Photo courtesy of Playwrights Horizons

Craig Lucas has written a masterpiece in I Was Most Alive with You, now running at Playwrights Horizons.  He parallels this narrative of loss, despair, and letting go with the Old Testament’s Book of Job.  Since one of the main characters is deaf, the production is “shadow cast” and told in American Sign Language.  A portion of the dialogue is projected when the characters communicate solely through signing.  The collaborative efforts of Sabrina Dennison, Director of Artistic Sign Language, and Director Tyne Rafaeli create a seamless and powerful piece of theatre.  The production is a monumental feat, fusing every aspect of design to engage and challenge the audience to join the characters on this brutal and gut-wrenching journey.

Ash (played by Michael Gaston and shadowed by Seth Gore) meets with his close friend and writing partner, Astrid (played by Marianna Bassham and shadowed by Christina Marie), to choose and develop a new writing project after months of hiatus.  Ash and his family have experienced a string of tragic events that have made it difficult for him to work, yet left him in great financial need.  In order to face the hardships head on, Astrid pushes Ash to write the story of the events of the past eighteen months. 

Michael Gaston, Lisa Emery, & Russell Harvard
Photo courtesy of Playwrights Horizons

It starts with a car ride to the home of Ash’s mother, Carla (played by Lois Smith and shadowed by Kalen Feeney), for Thanksgiving dinner.  They pick up Ash’s wife, Pleasant (played by Lisa Emery and shadowed by Amelia Hensley), and start to discuss the Bible, particularly the Book of Job, where Job loses everything and is left in total despair.  We meet Ash’s son, Knox (played by Russell Harvard and shadowed by Harold Foxx), getting ready to leave for the same Thanksgiving celebration.  He is deaf and a recovering alcoholic who is convincing his new boyfriend, Farhad (played by Tad Cooley and shadowed by Anthony Natale), to not drink or misbehave when meeting the family for the first time.  Being Thanksgiving, the family’s skeletons emerge.  Tragedy falls on them in three heavy blows, same as in the Book of Job.  It is revealed that Carla is dying of cancer and the family’s finances are in ruin, then Knox is severely injured in a car accident on the way home.  Act II brings more dire hardships.  As a result of the car accident, Knox becomes addicted to opioids and, out of despair, Pleasant leaves her husband and son.  Ash works feverishly to hold on and not relapse to drinking as he helplessly watches his son spiral into a dark place.  Astrid pushes Ash to write an ending to their writing project, thus relinquishing control of the final outcome of his life’s events.

The full cast of I Was Most Alive with You
Photo courtesy of Playwrights Horizons

By having the characters write their own story, Craig Lucas chose a highly theatrical mechanism that places the theme directly into the action.  It gives the characters a vehicle for self-examination as events unfold in front of the audience.  All the characters struggle with the need to control.  Ash and Astrid observe every scene, whether they are in the action or not.  The sense of control is always present, no matter how unpredictable and extreme the scenes turn out to be.  It is not until the climax of the play that we see Ash releasing his desperate need for control.  The sense of what he wants to occur is clear, yet his facing the need to accept what he cannot control is painful and cathartic.

Russell Harvard as Knox
Photo courtesy of Playwrights Horizons

This play is emotionally absorbing and intellectually riveting.  The full cast (main characters and shadow cast) is riveting.  They are fully present with one another in every moment, creating intense and genuine interaction.  I Was Most Alive with You is running at Playwrights Horizons through October 14.  See it!  You will be challenged on every level.

Domenick Danza

Apologia

Apologia

Roundabout Theatre Company

Laura Pels Theatre

September 29, 2018

Photo courtesy of Roundabout Theatre Company

Stockard Channing is brilliant in Apologia, Alexi Kay Campbell’s play presently being produced Off Broadway by Roundabout Theatre Company.  The theme of self-forgiveness is prominently explored as a mother faces the feelings she kept buried deep within herself for decades, caused when her children were taken from her by their father.  Mr. Campbell has written rich, complex characters.  Through skillful dialogue and a precise structure, the story unfolds to reveal their unspoken truths.  Director Daniel Aukin masterfully builds the tension to a stunning climax.

Peter (played by Hugh Dancy) brings home his girlfriend, Trudi (played by Talene Monahon) to meet his mother, Kristin Miller (played by Stockard Channing), during her birthday celebration.  Kristin is 

The cast of Apologia in rehearsal
Photo courtesy of Roundabout Theatre Company

a world renowned art historian and political activist with an intimidating demeanor.  She is of American descent and has lived in England since she was twenty-two.  She is taken back by the discovery that Trudi is not only American, but enlightening Peter to be a born again Christian.  Her sons, both Peter and Simon (also played by Hugh Dancy), cannot live up to her highly idealistic expectations.  This includes her disappointment that Simon is dating Claire, a materialistic soap opera star (played by Megalyn Echikunwoke).  When conversations opens about Kristin’s newly published memoire, Peter attacks her because she did not mention him or his brother in the book.  The basic core beliefs of everyone are brought into question, and Kristin unearths and faces her deepest sense of loss and failure.

Stockard Channing & Director Daniel Aukin in rehearsal
Photo courtesy of Roundabout Theatre Company

Stockard Channing creates a monumental character in Kristin Miller.  The stories she tells are mesmerizing and moving.  She has a genuine chemistry with the four other actors with whom she shares the stage.  Hugh Dancy is charming and personable as Peter, then dark and introspective as Simon.  The character of Peter has a powerful moment of confrontation with his mother toward the end of Act I.  Mr. Dancy flows into that moment and delivers it with sincere force that raises the stakes for all the characters.

John Tillinger, Talene Monahon, Stockard Channing, 
Playwright Alexi Kay Campbell, Hugh Dancy, 
Megalyn Echikunwoke, & Director Daniel Aukin
Photo courtesy of Roundabout Theatre Company

In the opening of the play Talene Monahon portrays Trudi as meek and polite when she meets Kristin Miller.  Ms. Channing plays these scenes with high self-esteem and graceful condescension.  Ms. Monahon’s Trudi does not flinch.  She firmly holds her ground while being highly impressed by Kristin’s intelligence and self-assurance.  In the second Act, Ms. Monahon reveals the source of Trudi’s strength.  We see her as an equally powerful woman to Ms. Channing’s Kristin.  There is a tender moment of bonding between the two women at the end of Act II, which pushes Ms. Channing’s character to brutally face her truth.

Playwright Alexi Kaye Campbell’s most skillfully crafted dialogue is in the opening scene of Act II, between Simon and Kristin.  The scene has a rhythm and tone that draws the audience slowly and deeply into the emotional depth of both characters.  The connection between Ms. Channing and Mr. Dancy in this scene is sincere and caring.  All the action prior to this scene pours into this important interaction, then magnificently flows forward to the end of the play.

This play is amazing!  The word “apologia” is defined during the play and on the program cover as meaning “a vindication, a justification, an explanation.”  It is said that it is very different from an apology.  Apologia is running at the Laura Pels Theatre though December 16.  You must see it!

Domenick Danza

The Waverly Gallery

The Waverly Gallery

Golden Theatre

September 29, 2018

Photo courtesy of The Waverly Gallery

Kenneth Lonergan’s new play, The Waverly Gallery, is a heartbreaking glimpse into the effect Alzheimer’s has on a family.  The many layers of this serious affliction are explored in each character of the family unit.  Director Lila Neugebauer allows the space for each actor in the brilliant cast to discover the core of their emotional journey.  Each point of view offers a wide range of audience member the opportunity for an individual relatable experience.

Gladys Green (played by Elaine May) has run a small art gallery in Greenwich Village for decades.  It is now 1989, and her ability to independently care for herself is changing as fast as the neighborhood.  Her grandson, Daniel (played by Lucas Hedges), moved into the apartment behind hers.  Her daughter, Ellen (played by Joan Allen), is regrettably aware that there will soon come a time when Gladys will need to move in with her and her husband (played by David Cromer) on the upper West Side.  Gladys befriends a young artist, Don Bowman (played by Michael Cera) and agrees to sponsor a showing of his painting in her gallery.  Along with the sparingly attended opening comes the news that the landlord is evicting Gladys from the gallery.  The family falls into crisis mode as they face the downward spiral of Gladys’ mental health and the inevitable need for drastic changes in her life style. 

Elaine May, Michael Cera, & Lucas Hedges
Photo courtesy of The Waverly Gallery

Elaine May is warm and likable as Gladys.  During the course of the play, we experience the gradual decline in her mental well-being.  Her vibrancy falters and her ability to maintain a conversation diminishes.  Early on in the play Ms. May draws the audience so close to the caring and generous nature of her character that we cannot help but feel for her.  Lucas Hedges directly addresses the audience at times, so we view the story through his perspective.  His character’s closeness to his grandmother is compromised by the frustration brought on by her condition, yet he never loses the bond they share.  His closing monologue is skillfully delivered, showing the truthful and brutal effect this experience has had on his character.

Joan Allen portrays Gladys’ daughter Ellen as impatient and angry.  There is callousness in the way her character speaks about Gladys as if she is not in the room.  In a short scene in Act II, Ms. Allen shows a glimpse of the strength and courage Ellen will find to unconditionally care for her mother in her time of greatest need.  This moment is then followed by the closing monologue by Mr. Hedges, completing the journey of this family through their crisis and into compassion.

The Waverly Gallery is running on Broadway at the Golden Theatre.  It is a deeply cathartic experience.  Be sure to see it.

Domenick Danza