Hillary and Clinton

Hillary and Clinton

Golden Theatre

April 27, 2019

Photo courtesy of Hillary and Clinton

It is 2008 in New Hampshire and Hillary Clinton (played by Laurie Metcalf) is losing in the primary to Barack Obama (played by Peter Francis James).  She calls her husband, Bill (played by John Lithgow), to help her.  Her campaign manager, Mark (played by Zak Orth), is dead set against Bill Clinton’s help in the campaign.  Barack offers Hillary the position of running mate if she drops out of the race.  She wins New Hampshire, and makes the same offer to Barack.

In Hillary and Clinton Playwright Lucas Hnath has written a fictional account of these conversations in a highly successful effort to deliver a strong message.  By writing these well known, true characters, Mr. Hnath engages his audience on an emotional level right from the start.  He frames the play with an opening and closing monologue that broadens the magnitude of the spectrum already established by these characters, and puts into perspective his themes of winning vs. losing, personality vs. professional accomplishments, and right time vs. wrong time.

Laurie Metcalf as Hillary Clinton
Photo courtesy of Hillary and Clinton

If you think, as I did, that any production starring Laurie Metcalf and John Lithgow that is directed by Joe Mantello has got to be good, this show proves that point.  Joe Mantello shapes the action and layers in moments of honesty, humor, and irony.  Ms. Metcalf is riveting, as always.  Mr. Lithgow is simply remarkable.  Neither of them attempts an imitation of the people they portray.  They both create individual and genuine characters facing personal challenges while juggling monumental reality.  Equally strong performances are also delivered by Zak Orth and Peter Francis James.

Hillary and Clinton is playing at the Golden Theatre.  Go see this show!  You will be engaged on numerous levels and propelled into deep thought on more than just the subject matter.

Domenick Danza

Curse of the Starving Class

Curse of the Starving Class

Signature Theatre

The Pershing Square Signature Center

April 26, 2019

Photo courtesy of Signature Theatre

The Signature Theatre production of Sam Shepard’s Curse of the Starving Class packs a powerful punch.  Terry Kinney directs a stark and brutal rendition of this 1976 play that is highly relevant today.  Scenic design by Julian Crouch is creative and unique.  It is highly reflective of the inner turmoil of the characters.  The atmosphere is enhanced through lighting by Natasha Katz and sound design and original music by Rob Milburn and Michael Bodeen. 

Emma (played by Lizzy Declement) figured a way to sell her house and property without the signature of her husband, Weston (played by David Warshofsky).  Her son Wesley (played by Gilles Geary) and daughter Ella (played by Maggie Siff) are very upset about this decision, but they are desperate and starving.  There is no food in the refrigerator.  Neither of them trusts Taylor (played by Andrew Rothenberg), the lawyer that has hooked up with Emma.  When they find out their father has already sold the property to Ellis (played by Esau Pritchett) for an extremely low amount of money to pay off his debts, Ella goes on a violent rampage and Wesley fights to get it back.  There is nothing this family can do to escape the curse that has been handed down to them for generations.

The cast of Curse of the Starving Class
Photo courtesy of Signature Theatre

The actions of the play are viciously over the top, and this cast convincingly plays them as realistically as possible.  The second act has a few turns that build to a visceral explosion of events and emotions.  These characters are trapped, and Mr. Shepard’s message forcefully hits home.

Curse of the Starving Class has been extended at the Pershing Square Signature Center through June 2.

Domenick Danza

King Lear

King Lear

Cort Theatre

April 23, 2019

Photo courtesy of King Lear

I spent Shakespeare’s birthday watching Glenda Jackson perform the role of King Lear on Broadway.  It could not have been a better celebration.  Director Sam Gold brings the text to the forefront as he guides each actor to a deep understanding of what drives their character’s actions.  His casting is impeccable.  His grasp of effective timing is flawless.  The original music by Philip Glass enhances the build of action and calms the conflict, intensifying the emotional impact and pace of the production.  Glenda Jackson is majestic in her complex portrayal of the King. 

King Lear (played by Glenda Jackson) decides to split his kingdom among his three daughters.  Before he does, he asks each one to profess their love for him.  Goneril, the eldest (played by Elizabeth Marvel), is gracious and respectful.  Regan, the second daughter (played by Aisling O’Sullivan), poetically exceeds her sister’s pronouncements.  The youngest and favorite daughter, Cordelia (played by Ruth Wilson), is appalled by the insincere performances of her sisters, and answers truthfully and glibly.  This hurts and infuriates the King.  He disowns Cordelia and splits his kingdom in two among his ostensibly loyal and loving daughters.  The Earl of Kent (played by John Douglas Thompson) comes to Cordelia’s defense, and is immediately banished by the King.  Meanwhile, Edgar (played by Sean Carvajal) is planning on betraying his illegitimate brother, Edmond (played by Pedro Pascal) to remove him from the graces of their father, the Earl of Gloucester (played by Jayne Houdyshell).  The power struggle accelerates to full out war within the family, ending in devastating tragedy.

Glenda Jackson as King Lear
Photo courtesy of King Lear

The most dramatic and powerful scene is the blinding of the Earl of Gloucester by the Duke of Cornwall, Regan’s husband.  Aisling O’Sullivan drives this scene with fear and desperation, as her husband, played by Russell Harvard, pushes the action forward.  The scene is brutal and viscerally engaging.

One brilliant decision in double casting is that Ruth Wilson is playing both Cordelia and King Lear’s Fool.  Her vocal and physical characterizations in the contrasting roles are distinct and strong.  At one point she removes the wig she wears as the Fool.  It’s as if Cordelia is there with the King in his time of need when his other two daughters abandon and betray him.  This simple gesture speaks volumes to Shakespeare’s multi-layered theme of complicated family dynamic.

Ruth Wilson & Glenda Jackson
Photo courtesy of King Lear

The love triangle between Regan, Edgar, and Goneril is physically and sexually driven.  It feeds on the hunger for power these characters possess, which propels their action to their devastating downfall.  The battle that takes place between France and Albany as a result is simply and effectively staged.

King Lear is playing at the Cort Theatre through July 7.  Sam Gold has done an amazing job bringing Shakespeare’s themes to significant impact.  The entire cast is brilliant and powerful.  Glenda Jackson is magnificent.  Jayne Houdyshell is outstanding.  Get a ticket and see it for yourself.  

Domenick Danza

The Cher Show

The Cher Show

Neil Simon Theatre

April 20, 2019

Photo courtesy of The Cher Show

The Cher Show is a glitzy and flamboyant celebration of personal empowerment.  The chronological narrative tells the story of Cher’s rise to fame, her highs and lows, and her unwavering endurance.  She faces her fears and rises above every obstacle and challenge she faces.  With costumes by the great Bob Mackie, the production is a superb and deserving fashion show.  The cast, led by Stephanie J. Block, is outstanding.  The show is fast paced, high energy, nostalgic, and full of laughs. 

Teal Wicks, Stephanie J. Block, & Micaela Diamond
Photo courtesy of The Cher Show

Cher is portrayed as three different personalities: the Star (played by Stephanie J. Block), the Lady (played by Teal Wicks), and the Babe (played by Micaela Diamond).  Although they represent Cher at three different stages in her life, they come and go throughout the show as certain personality traits are needed in order to face different situations.  Also spread throughout the show are numerous Cher hits that encapsulate her emotional point of view at various moments.

Stephanie J. Block commands the stage and keeps the narrative flowing.  She is truly spectacular, and creates genuine moments in Act II.  Jarrod Spector’s portrayal of Sonny Bono is charismatic, funny, and spirited.  When he and Micaela Diamond sing “I Got You Babe” in the first act, everything is suddenly right with the world.  It is topped in Act II with a short, heartfelt reprise by Ms. Block and Mr. Spector after Sonny’s death.

Jarrod Spector & Micaela Diamond
Photo courtesy of The Cher Show

One highlight in the book by Rick Elice is the montage of Cher’s acting career on Broadway and in the movies.  This section of Act II is concise and excellently staged.  Another high point in Act II is the “Dark Lady” dance scene.  The choreography by Christopher Gattelli is hot and meticulous.  The story telling elements in this sequence are clear, revealing, and propel the story forward. 

The Cher Show is playing at the Neil Simon Theatre.  If you are a Cher fan, a Bob Mackie enthusiast, a Sonny and Cher aficionado, or are just looking for a flamboyant good time in the theatre, this show is for you.  

Domenick Danza

Tootsie

Tootsie

Marquis Theatre

April 19, 2019

Photo courtesy of Tootsie

Out of all the movies being made into Broadway musicals lately, I was most excited about seeing Tootsie.  There is so much possibility in the original movie for musical interpretation, and the creative team took every one of these potential jumping off point to the max.  David Yazbek’s score is unique and character driven.  His lyrics start off as sharp and funny, then dive deep into the soul of the characters.  The book, written by Robert Horn, is witty and intelligent.  They set the show in present day and use every possible opportunity for social commentary.  Scott Ellis’ direction is spot on, and yes, Santino Fontana is beyond fabulous in the title role.

Photo courtesy of Tootsie

Actor, Michael Dorsey (played by Santino Fontana) cannot get a job in New York City theatre.  His arrogance has generated more professional enemies than work connections.  His best friend and roommate, Jeff Slater (played by Andy Grotelueschen), reminds him on his 40^th birthday of the goals he has yet to achieve.  After coaching his ex-girlfriend, Sandy Lester (played by Sarah Stiles), for an audition of a new musical, Juliet’s Curse, a re-telling of Rome & Juliet, he decides he might stand a chance at getting an acting job if he auditions as someone else.  He creates an alter-ego, Dorothy Michaels, and lands the role of the nurse.  He channels his talent, ego, and ingenuity through his new persona and achieves the professional success he always knew he could, yet his personal life hits a few bumps.  He falls in love with his co-star, Julie Nichols (played by Lilli Cooper), while another cast member, heart throb Max Van Horn (played by John Behlmann), becomes enamored with him.  Michael finds himself trapped under a pile of lies and deceit.  He turns to the wisdom of his alter-ego for a solution.  

The cast of Tootsie
Photo courtesy of Tootsie

You can’t take your eyes off Santino Fontana.  He flips from Michael to Dorothy in an instant.  His vocal characterization is brilliantly matched by his unqualified physicalization, which combine to create a robust portrayal.  The determination of his character drives the action of the show.  The comic timing between him and Andy Grotelueschen is impeccable.  This establishes and builds their relationship.  Sandy Stiles is dynamite, delivering laughs and genuine neurotic moments.  Lilli Cooper delivers song after song of sincere perfection. 

Tootsie is playing at the Marquis Theatre.  It is sure to be a big hit.  Get your tickets right away and prepare for a fun night at the theatre.

Domenick Danza

Gary: A Sequel to Titus Andronicus

Gary: A Sequel to Titus Andronicus

Booth Theatre

April 13, 2019

Photo courtesy of
Gary: A Sequel to Titus Andronicus

Taylor Mac weaves together layers of laughter and grief mixed with hope and despair in Gary: A Sequel to Titus Andronicus.  His writing is boldly satirical.  He moves in and out of metaphoric verse, giving the audience opportunities to ponder what lies beyond their own understanding in order to see the larger possibilities for transformation and healing.

It is the fall of the Holy Roman Empire and a street clown, Gary (played by Nathan Lane), has been promoted to maid.  His job is to clean up the dead bodies fallen from the carnage, and prepare the palace for the inauguration of the new Emperor.  The job, though overwhelming, seems simple enough, until he meets his supervisor, Janice (played by Kristine Nielsen).  She is determined to get the job done right and refuses to fall behind schedule due to Gary's trifling.  In his efforts to transform the tragedy that is all around him into comedy, Gary envisions a new genre, a “foolery,” which is comedy with a deep and serious theme.  Just as Janice is beginning to buy into Gary’s “foolery,” Carol (played by Julie White) emerges from beneath the pile of carcasses.  She was midwife to Tamora, and is obsessed with the fact that she failed to save Tamora’s baby before her throat was cut by Aaron.  Gary begins to think his idea of a “foolery” to change the future is not going to work.  When Carol locates and rescues the baby, Gary regains his confidence and begins to rethink his plan.   

Nathan Lane as Gary
Photo courtesy of Gary: A Sequel to Titus Andronicus

The true brilliance of the production is that immediately following bombastic humor, Nathan Lane and Kristine Nielsen shift the tone to sincere introspection.  Director George C. Wolfe shows a strong grasp of Mr. Mac’s writing in these transitions.  These moments are where absurdity meets truth, and we realize that our laughter is a defense against the extreme, not in acceptance of it.  

Mr. Mac brings hope for the future in the form of the baby thought to be lost.  His most prolific moments are when he pulls in the events from Shakespeare’s Titus Andronicus.  I strongly recommend googling the synopsis before attending the play.  The themes will reverberate more soundly if you know these details.

Gary: A Sequel to Titus Andronicus is playing at the Booth Theatre.  Go see it!

Domenick Danza

Network

Network

Belasco Theatre

April 6, 2019

Photo courtesy of Network

When Network was first released in 1976, it struck a chord to a generation who grew complacent. We easily bought into any belief system that kept us calm and happy.  The movie aroused our anger.  We rose up crying, “I’m mad as hell and I’m not going to take it anymore!”  We all felt the freedom that comes with expressing pent-up emotion.  Today, forty years later, as the expression of anger seems common place and out of control, we can listen to and appreciate the powerful message Network imparts that is beyond the mere facing of repressed emotion.  Adapted for the stage by Lee Hall, the Broadway production of Network delivers the expected impact and offers these deeper introspective moments.  Director Ivo Van Hove creates a high tech production that combines video and sound to keep the action fast paced and in the moment.  Brian Cranston is riveting.

Brian Cranston as Howard Beale
Photos courtesy of Network

After twenty-five years as a broadcast news journalist and anchor, Howard Beale (played by Brian Cranston) gets fired.  To add insult to injury, his best friend and colleague, Max Schumacher (played by Tony Goldwyn) is the one responsible for delivering the fatal news.  Howard, in a moment of desperation, announces he will commit suicide while on the air.  This threatens an even sooner demise to his career, until Diane Christensen (played by Tatiana Maslany) decides to use it to improve ratings.  She proposes to the network to make Howard Beale a prophet to the common people.  They buy it.  It works.  Ratings soar.  Millions are made.  Then everyone realizes who really holds the power.

Tony Goldwyn & Brian Carnston
Photos courtesy of Network

In our present day of reality TV and presidents winning election on their celebrity, the use of personal hardships and biased information to boost rating seem unfortunately normal.  It is, however, heartbreaking to watch Brian Cranston’s portrayal of the downfall of Howard Beale.  His character has lost all sense of reality, and is pushed further down the dark path for other people’s gain.  Mr. Cranston creates genuine and powerful moments of panic and despair.  He is able to pull himself up, but we know it is based on falsehood, and therefore only temporary.  The ending is shocking.  Mr. Van Hove knows how to build a moment and explode it unexpectedly.

The Broadway production of Network has been extended through June 8.  Go on line and get your ticket.  If you liked the move, you must experience this production.  Do not leave during the curtain call.  Mr. Van Hove leaves the audience with a few very timely images that drive the theme home after the cast leaves the stage.

Domenick Danza