The Kite Runner

 The Kite Runner
The Hayes Theater
July 30, 2022 

Photo courtesy of The Kite Runner

Matthew Spangler’s adaptation of Khaled Hosseini’s novel The Kite Runner is superbly written.  Most of the story is told through narration, as the main character tell his story.  He weaves facts together with the innocence of a young boy, then unravels the truths of buried emotions in order to heal and find happiness in his adult life.  Director Giles Croft magnifies each small moment so their significance is clearly felt when secrets are revealed.

Amir (played by Amir Arison) tells of his growing up in Kabul in the 1970s.  He lived a wealthy, privileged  life.  Amir’s father, Babar (played by Faran Tahir),  had very high expectations for him that he could never live up to them.  Amir’s best friend was his servant, Hassan (played by Eric Sirakian).  He was Amir’s kite runner.  He played with Amir, and protected him.  They grew up together, and shared everything.  On the day of the kite festival, Hassan was brutally assaulted.  Amir witnessed the attack, yet did nothing to stop it.  He could not face the truth of his betrayal of his closest companion.  When the Russians invaded Afghanistan, Amir and his father fled to America, with nothing but two suitcases of clothing.  They began to build their lives back.  After Amir gets married and Baba passes away, Amir receives a message from his father’s old business partner, Rahim Khan (played by Dariush Kashani).  Amir knows he must return to Afghanistan to make good on the harm he caused Hassan in his youth.  What he does not know is the secret that Rahim Khan is ready to reveal. 

Amir Arison & Eric Sirakian
Photo courtesy of The Kite Runner

Amir Arison rarely leaves the stage.  He steals your attention at the top of the show.  You gladly join him on his heartfelt and painful journey.  He skillfully shifts his physicality as his character jumps in age throughout the story.  He and Eric Sirakian create a genuine bond that fills the audience with joy whenever they share the stage.  The story relies on the sincerity of this bond, and these two actors successfully transport the audience into their world.

Faran Tahir comes on strong as Baba in the first act.  He is a father, the head of the household, a successful businessman, and a solid leader.  His character undergoes a huge transformation as they flee Afghanistan and become refugees.  He takes a job as a gas station attendant in America, doing whatever it takes to survive.  Mr. Tahir seamlessly delivers this transformation.  We watch him change.  It is beautifully done. 

Photo courtesy of The Kite Runner

This adaptation is brilliantly conceived and masterfully executed.  The entire cast works as a tight ensemble, keeping the action moving.  They create an authentic atmosphere, while maintaining consistency in the storytelling style.  

The Kite Runner is playing at The Hayes Theater through October 30.  You MUST experience this work.  It will touch your heart. 

Domenick Danza

Notre Dame de Paris

 Notre Dame de Paris
David H. Koch Theater
Lincoln Center for the Performing Arts
July 23, 2022 

Photo courtesy of Notre Dame de Paris

Notre Dame de Paris, a musical spectacle by Luc Plamondon and Richard Cocciante, is a bold and passionate telling of the Victor Hugo classic.  This visually stunning production has toured all over the world.  The set design by Christian Rätz magnificently fills the stage at Lincoln Center’s David Koch Theater, while leaving opens space for the brilliant choreography and aerial routines of Matino Müller.  The cast and ensemble are skillful, energetic, and mesmerizing. 

Photo courtesy of Notre Dame de Paris

The story revolves around Esmeralda (played by Hiba Tawaji), a young bohemian woman who sings and dances in the square in front of the Cathedral of Notre Dame.  She is noticed by Frollo (played by Daniel Lavoie), the archdeacon of Notre Dame.  His attraction quickly becomes an obsession.  Phoebus (played by Yvan Pedneault) is a captain in the King’s cavalry.  He captures Esmeralda’s heart, but is engaged to Fleur-de-Lys (played by Emma Lépine).  There is much conflict in the emotional ties between these characters, yet the one who loves Esmeralda with a pure heart is Quasimodo (played by Angelo Del Vecchio), the hunchback and partially blind bell ringer of Notre Dame.  When Esmeralda rendezvous with Phoebus, Frodo follows her.  He stabs Phoebus out of jealousy.  Quasimodo saves Esmeralda from Frodo’s advances, yet she cannot escape his wrath.  She is sentenced to hang for fighting for the rights of the undocumented immigrants after her friend, Chopin (played by Jay) is killed.  Quasimodo throws Frodo down the stairs of the bell tower out of anger over Esmeralda’s death.  He goes to Esmeralda’s body to profess his love. 

Photo courtesy of Notre Dame de Paris

The story is fully told through song, and performed in French.  The score is lush, melodic, and romantic.  The dramatic action builds as the songs are juxtaposed to one another, revealing the motivations and inner thoughts of each character.  The voices of this cast are astounding.  They each have a different quality, from pop to rock to classic, that defines their character and brings dimension and conflict to the story.

Norte Dame de Paris closes on July 24.  Hopefully it will tour through New York again in the near future.  If you did not get a chance to see it this time, be ready the next. 

Domenick Danza

Oresteia

 Oresteia
Park Avenue Armory
Almeida Theatre Production
July 16, 2022 

Photo courtesy of Park Avenue Armory

Robert Icke’s adaptation of  Oresteia is a brilliant retelling of the Aeschylus trilogy.  The production is four hours of riveting action.  The audience is part of the story.  We are drawn into the human emotions of this family, who sacrifices for the greater good, then gets trapped in a vicious cycle of murder.  Once this brilliant cast presents the full story, Mr. Icke includes the audience in the final conclusion.  How can this family break free from the endless cycle of bloody retribution?  How does our final thought reflect on our own sense of justice?

Mr. Icke brings the action into present day, and tells the tale in four Acts.

·       Act I:  The sacrifice of Iphigenia (played by Elyana Faith Randolph & Alexis Rae Forlenza) by Agamemnon (played by Angus Wright) to save his country from the destruction of war.

·       Act II:  The murder of Agamemnon by Klytemnestra (played by Anastasia Hille) for taking the life of their daughter.

·       Act II:  The murder of Klytemnestra by Orestes (played by Luke Treadaway) in retribution for the murder of his father.

·       Act IV:  The final judgment of Orestes.

Angus Wright as Agamemnon
Photo courtesy of Park Avenue Armory

 Act IV is a unique ending to this classic tale.  After three gripping acts of suspenseful and emotional
immersion, the final moments of the play engage you intellectually. The audience is asked to judge Orestes in the act of killing his mother for the murder of his father.  The cycle of vengeful murder needs to end with Orestes.  We witnessed the story and have the power to release him of the consequences of his fate, the expectation of his heritage, the burden of his lineage.  Mr. Icke takes us to a stunning conclusion as we face the truth of our own conviction.  How is justice served?  Is it through Oreste’s murder for his crime or through his absolution, which will overwhelm him with the guilt of his actions for the rest of his life.  A life that looks nothing like the privilege he was born into.  This is the question asked of Agamemnon in Act I when he is faced with the need to sacrifice Iphigenia.  What will her life be like if she is saved and they lose the war?  Their present life will no longer exist.  The tale goes full circle.  Justice is served.  The cycle might be ended, but what kind of life is ahead? 

The original cast of Oresteia
Photo courtesy of Park Avenue Armory

Aeschylus wrote Oresteia centuries before the practice of psychology was developed.  As in his production of Hamlet (running in rep with this production – see the post on this blog dated July 3), Mr. Icke analyzes these classic characters so we see our behavior in them.  As we face present day crises, both personal and on a world wide level, we need to see that our actions reflect who we are.  They have repercussions on our immediate circles.  As the crises of the world invade our homes, we have choice.  Our choices create a cycle in our behavior that can become inescapable.  Mr. Icke’s adaptation and direction of this centuries old story give us pause to realize that history never stops repeating.  We are not alone in the consequences of our decisions, but we do have the power to prevent the start of a cycle in our behavior, or break it before it is too late.

Oresteia is playing at the Park Avenue Armory in rep with Hamlet through August 13.  Both productions are in association with the Almeida Theatre in London.  They are both brilliantly conceived and masterfully directed by Robert Icke, with an exceptionally skilled cast and ensemble.  Don’t miss them! 

Domenick Danza

Reverse Transcription

 Reverse Transcription
PTP/NYC (Potomac Theatre Project)
Atlantic Theater – Stage 2
July 6, 2022 

Photo courtesy of PTP/NYC

The Potomac Theatre Project (PTP/NYC) production of Reverse Transcription is a moving pair of one-act plays.  The Dog Plays written by Robert Chesley during the AIDS epidemic is responded to by A Variant Strain, written by Jonathan Adler and Jim Petosa about the Covid pandemic.  The juxtaposition of these two works invites comparison of both the response to these two crises and the lessons learned.  Director Jim Petosa masterfully empowers his talented cast of skilled actors to take the audience on a journey into deep introspection, giving them a new perspective, and building their courage to move forward.

In The Dog Plays, Dog (played by James Patrick Nelson) notices Buck (played by Joshua Mallin) in a San Francisco bar.  Dog thinks Buck is a ghost, or at least someone who should be dead.  Dog shows his lesions and reveals he has AIDS.  When Buck approaches Dog, he forces him to look at him and admit their connection.  We next meet Fido (played by Jonathan Tindle).  When he goes for a walk, he notices his friend Rover’s name on a headstone.  He is hit with the truth that his friend has passed.  Dog visits the grave, and reminisces with Fido, who consoles him over his loss.  Later, we meet Lad (played by Trey Atkins), who tells Dog of his trip up north.  Dog repeats a more realistic version of the story back to him.  Lad is dying of AIDS.  He tells Dog to look up at the stars and feel the connection. 

In A Variant Strain, we meet New Dog (played by Francis Price).  He is struggling with the need to feel connected during the Covid pandemic.  He arranges a hook up online, and meets Dog, who challenges him to take a close look at himself.  We then meet Fido (played by Ryan Kirby), a nurse on his break at a hospital.  As he walks by a memorial honoring deceased Covid patients, he meets New Dog, also a nurse on his break.  They notice a picture of Dog among the photos on the memorial.  They are mesmerized by his eyes.  They both knew him as a survivor of AIDS, and now learn he has passed due to Covid.  They wonder about his story.  In the next scene, Dog visits New Dog to teach him to look at the stars and feel connected. 

James Patrick Nelson & Trey Atkins
Photo courtesy of PTP/NYC

Playwright Jonathan Adler and Jim Petosa crafted A Variant Strain to bring the character of Dog into the present day.  The style and structure of this work runs parallel to that of Robert Chesley’s The Dog Plays, so they flow with ease.  James Patrick Nelson brilliantly bridges these two works by extending the arc of Dog’s character through three decades.  He brings a sense of reality to the “ghosts” in both pieces, so the audience engages in seamless action.  Mr. Nelson’s bond and chemistry with Trey Atkins (Lad in The Dog Plays) and Francis Price (New Dog in A Variant Strain) are potent and equally significant.  These three actors succinctly deliver the vital message of finding healing through connection. 

Ryan Kirby delivers a light-hearted character with Fido in A Variant Strain.  This is a much needed relief, a chance to smile.  He then pulls the audience right back into the dark reality of the moment, as his character returns to work.  This same effect is realized by Jonathan Tindle, who plays Fido in The Dog Plays.  These two actors are genuine and effective.  Their characters offer a respite to the audience, calming us, then delivering us back to the truths of the time with a different viewpoint.   

The scene between Joshua Mallin (Buck) and James Patrick Nelson (Dog) in The Dog Plays is controlling and intense.  Both actors push to achieve their character’s selfish objectives.  It is a visceral portrayal with a powerful impact.

The pairing of these two one-act plays in ReverseTranscription is relevant, stimulating, and vital in our understanding of how we need to connect to survive.  This PTP/NYC production is playing in rep with Sex, Grift, and Death at Atlantic Theater – Stage 2 (on W. 16 St.) through July 31.  

Domenick Danza

Company

 Company
Bernard B. Jacobs Theatre
July 6, 2022 

Photo courtesy of Company

Director Marianne Elliott has successfully transported Stephen Sondheim and George Furth’s Company into the 21^st Century.  The Broadway revival examines the phases of life and relationships, and gives you pause to ponder what it takes to get through them.  You think about who you have to become to find happiness.  You wonder why the things that work for someone else are not right for you.  The choreography by Liam Steel is sharp, witty, and fast paced.  His movement and staging further explores the dichotomy in Mr. Sondheim’s lyrics, the deep and personal dive in Mr. Furth’s book, and Ms. Elliot’s bold, neon-light interpretation of the piece.

It’s Bobbie’s (played by Katrina Lenk) thirty-fifth birthday.  Her friends are throwing her a surprise party.  She’d rather be alone.  All her friends are married.  Bobbie evaluates her life by looking at her own reflection through the eyes of her friends and their relationships.  They want her to get married, yet all of their relationships bring up a fear of commitment.  There are three men she has been seeing: PJ (played by Bobby Conte), Theo (played by Manu Narayan), and Andy (played by Claybourne Elder).  Each one brings out a different aspect of her personality and desires, but none of them gives her what she really needs.  It is her friend, Joanne (played by Patti Lupone), who finally pushes Bobbie to take an honest look and accept herself as she is. 

Katrina Lenk & the Cast of Company
Photo courtesy of Company

Katrina Lenk brings a vibrant perspective to the role of Bobbie, who was originally written as a male character.  She has a strong, beguiling presence and a superb singing voice.  Her character’s search is sincere, even though it is more motivated by the people around her than from her individual need.  This creates confusion for the character, which is genuinely portrayed.  It is through the search itself that she discovers her own need.  It is an interesting interpretation and journey, with a palpable ending.  Her rendition of “Marry Me a Little,” which is added to the end of Act I, is stunning.  

Terence Archie Patti Lupone, & Katrina Lenk
Photo courtesy of Company

Patti Lupone holds nothing back as Joanne.  She tells it like it is, and does not allow Bobbie to evade the issue at hand.  She holds up a clear mirror for Bobbie to take a cold, direct look at herself.  Her performance of “The Ladies Who Lunch” is honest and sad, yet grounded in a will to survive. 

Jennifer Simard and Christopher Sieber are hysterical as Sarah and Harry.  Matt Doyle and Jacob Dickey (understudy) are neurotic and romantic as Jamie and Paul.  Jeff Kready and Nikki Renée Daniels are endearing as David and Jenny.  Rashida Scott and Javier Ignacio (understudy) are full or surprises as Susan and Peter.  Terence Archie is grounded and solid as Joanne’s third husband, Larry.  

Claybourne Elder plays the flight attendant, Andy, for every possible laugh.  His timing is perfect.  He plays the character with a superbly dry balance of naivete and brazen sex appeal.  Bobby Conte’s interpretation of “Another Hundred People” is unique and effective.  Manu Narayan portrays Theo with a refreshing and heartbreaking sincerity. 

Bobby Conte & Katrina Lenk
Photo courtesy of Company

The set, designed by Bunny Christie, depicts numerous NYC apartments that inhabit the action.  The geometric spaces create stringent, realistic limitation.  The structures move and connect in unexpected ways and at unexpected times.  Lighting, designed by Neil Austin, creates an open, vast atmosphere that closes in on the tight, crowded living spaces.  He then illuminates them with neon lights boarders to highlight the intimacy of the action. 

Company is closing on July 31.  If you haven’t seen it yet, make sure to get your ticket right away.  It is playing at the Bernard B. Jacobs Theatre. 

Domenick Danza

Paradise Square

 Paradise Square
Ethel Barrymore Theatre
July 3, 2022 

Photo courtesy of Paradise Square

Paradise Square is a MUST SEE  musical.  It tells the story of a twenty-block district in downtown Manhattan during the Civil War.  Populated by Irish Immigrants and free Black Americans, this area came under devastating attack during the New York Draft Riots in July 1863.  The fictional characters in the story are skillfully crafted to dramatize this unknown neighborhood and historic period.  The book by Christina Anderson, Craig Lucas, and Larry Kirwan is sharp and concise.  The plot is fueled by urgent, life changing decisions.  The score by Jason Howland is bold and emotionally impactful.  Lyrics by Nathan Tysen and Masi Asare bring the story forward with stunning clarity and heightened passion.  Director Moisés Kaufman masterfully pulls it all together to deliver a significant piece of musical theatre.

Photo courtesy of Paradise Square

Nelly O’Brien, a Black independent woman (played by Joaquina Kalukango), owns a bar in Five Points, also known as Paradise Square.  Her husband, Willie, an Irish Immigrant (played by Matt Bogart), is leaving to fight with the Union Army.  Willie’s sister, Annie (played by Chilina Kennedy) is remaining with Nelly to run the bar.  Annie’s husband, Reverend Samuel Jacob Lewis (played by Nathaniel Stampley) is a conductor on the Underground Railroad.  When a runaway slave (played by understudy Alan Wiggins) is separated from his partner, Angelina (played by Hailee Kaleem Wright), the Reverend seeks shelter for him at Nellie’s Bar.  At the same time, Annie’s nephew, Owen (played by A.J. Shively), arrives in New York, escaping the famine in Ireland.  Abraham Lincoln institutes the first Federal Draft, which imposes a $300 fine for any man who dodges his responsibility.  This creates a way out of the draft for the wealthy.  The immigrant population is required to serve and the Black population, who are willing, are prevented.  This creates a rift in the community of Five Points, especially within Nellie’s family.  When it is revealed to the authorities that Nellie is harboring a runaway slave, she becomes a target.  As the Draft Riots explode violently in the streets of New York, Nellie’s home becomes threatened.

Joaquina Kalukango & Chilina Kennedy
Photo courtesy of Paradise Square

Tony Award winner Joaquina Kalukango is a powerhouse.  She grabs your attention the minute she enters at the top of the show to tell Nellie’s story.  She continually engages your emotions, building to the spectacular number at the climax of the second act, which brings the audience to their feet. 

Also delivering a powerhouse performance is Chilina Kennedy as Annie Lewis.  She creates a rough, straightforward character who stands with Nellie through every emotional challenge and defining moment.  These two women are a remarkable duo.  There are also strong performances by Matt Bogart, Kevin Dennis, Nathaniel Stampley, A.J. Shively, Jacob Fishel, and understudies Alan Wiggins and Hailee Kaleem Wright.  The ensemble is outstanding.  They are full of energy, creating distinctive characters and vibrant moments that support the main action. 

Photo courtesy of Paradise Square

The choreography, by Bill T. Jones combines Irish step dancing and Black American Juba dance.  This sets the tone and pace for the story, while beautifully framing the historic and cultural content.  Scenic design, by Allen Moyer, creates a solid environment for the characters to inhabit.  It swiftly moves and shifts to keep the action continually connected.

In these current times where there is change and unrest, Paradise Square offers a startling perspective on the history of economic oppression in this country and the unrelenting need for standing up for freedom.  It is a monumental musical and a vital story.  Go see it! 

Domenick Danza

Hamlet

 Hamlet
Park Avenue Armory
Almeida Theatre Production
July 2, 2022 

Photo courtesy of Park Avenue Armory

The North American premier of Director Robert Icke’s Hamlet is now playing at the Park Avenue Armory.  It has a running time of three hours and forty minutes, with two intermissions.  The actors take their time with Shakespeare’s rich text and gently rhythms, uncovering lavish subtext.  Mr. Icke places the story in present day Denmark, using modern technology to progress the action, allowing the characters to be relevant and identifiable.  

Prince Hamlet of Denmark (played by Alex Lawther) is in grief over the death of his father, King Hamlet, and the quick and untimely marriage of his mother, Queen Gertrude (played by Jennifer Ehle), to his uncle, Claudius (played by Angus Wright).  Hamlet’s friend, Horatio (played by Joshua Higgott), tells him that the ghost of King Hamlet (played by David Rintoul) appeared during the night watch.  Hamlet joins Horatio, Marcellus (played by Michael Abubakar), and Bernardo (played by Hara Yannas) to watch for the ghost’s return.  When it appears, the ghost tells Hamlet that he was murdered by Claudius, and Hamlet must take revenge.  Hamlet does not reveal this information to anyone, so these thoughts consume him.  His behavior becomes erratic and unpredictable.  He lashes out at his beloved Ophelia (played by Kristy Rider).  When Claudius suspects that Hamlet knows the truth, he commands Hamlet’s old school friends, Rosencrantz (played by Calum Finlay) and Guildenstern (played by understudy Lise Bruneau) to accompany Hamlet to England.  They unknowingly carry a letter from Claudius to the King of England to have Hamlet killed.  Hamlet escapes, only to return to Denmark on the day of Ophelia’s burial.  Her brother, Laertes (played by Luke Treadaway) wants revenge on Hamlet for the death of Ophelia and his father, Polonius (played by Peter Wight).  The plan Claudius makes with Laertes to cause the death of Hamlet goes awry, causing the death of Gertrude.  Hamlet finally achieves vengeance for his father’s murder, but does not live to tell the tale. 

Jennifer Ehle & Alex Lawler
Photo courtesy of Park Avenue Armory

This cast is brilliant.  Every performance is precise and clear, projecting throughout the expansive Park Avenue Armory space.  Alex Lawther portrays Hamlet as a meek and gentle man who is apprehensive about his power, his grief, and his rage.  There are explosive moments, followed by emotional retreats and deep uncertainty.  This dichotomy is potent, and clearly illustrates Shakespeare’s intent, which was way before Freud and any understanding of this kind of psychological characterization. 

Angus Wright has a strong and domineering presence as Claudius, fully taking charge of every element of his rule, including Hamlet’s fate.  Jennifer Ehle’s Gertrude is joyous in her new marriage, truly unaware of Claudius’ tyrannical betrayal.  Prominently depicted in this production is a territory conflict between Norway and Denmark, started by King Hamlet.  This frames the level of power that Claudius is hungry to achieve.  Hamlet’s death brings peace and resolution to Denmark’s on-going conflict with Norway, making him a honored and remembered international figure.    

Calum Finlay, Alex Lawther, & Tia Bannon
Photo courtesy of Park Avenue Armory

The interpretation of Rosencrantz and Guildenstern is refreshing.  There is conflict between the two characters as Guildenstern is loyal to Hamlet and genuinely concerned about his well-being.  Rosencrantz’s loyalties lie more on achieving Claudius’ directives.  Calum Finlay and Lise Bruneau beautifully play these characters, enacting these distinct objectives and earnest concerns.  It drive their scenes and creates an unsettling effect when we hear about their outcome.

The final scene is magnificently directed.  Most of the dialogue is cut, and the duel is staged as a fencing tournament.  One by one the characters are poisoned, with close-ups provided by video projections.  They exit to heaven and are met by King Hamlet and the other deceased characters.  There is a visceral sense of forgiveness and mercy, creating compassion and forward movement.  This illuminates Shakespeare’s well-known final line of this play. 

Photo courtesy of Park Avenue Armory

If you are a Shakespeare or Hamlet enthusiast you must see this production.  The interpretation is enthralling.  The performances are superb.  Hamlet is playing at the Park Avenue Armory in rep with Aeschylus’ Oresteia through August 13.  Both productions are in association with the Almeida Theatre in London.  The production of Oresteia is sure to be equally engaging. 

Domenick Danza