Leopoldstadt

 Leopoldstadt
Longacre Theatre
December 30, 2022 

Photo courtesy of Leopoldstadt

Tom Stoppard has outdone himself with Leopoldstadt.  The play runs two hours and ten minutes without intermission, and flies by.  The characters are rich and clear, full of vigor and continually standing up for themselves.  They are flawed and real, striving to find their place in the world, while struggling to find their place within their own family.

Photo courtesy of Leopoldstadt

It is 1899.  We meet a very well-off Jewish family living in Vienna.  The children are decorating a Christmas tree.  The adults find it amusing when one of the young boys puts the Star of David on top of the tree.  This is a progressive family, who openly discuss politics, the unjust ways of the world, their Jewish heritage, and the choices some of them made with interfaith marriage.  A few of the women are looking through a photo album.  One of them comments that when a family member dies without a photo, their face is lost forever.  This family looks forward to the turn of the 20^th century with optimism, even thought they are well aware of the obstacles and antisemitism they face.

Photo courtesy of Leopoldstadt

The story continues to follow the children and grandchildren of this family through 1924, 1938, and 1955.  Their personal conflicts continue as the political environment in Austria drastically changes, yet their identity remain strong, as they can see in the photo album they carry with them through the decades.

This play has a cast of over twenty phenomenal actors.  Director Patrick Marber keeps the focus sharp through the span of fifty-six years of action, which includes changes of actors as their characters age.  Tom Stoppard’s writing is dense and complex, full of both political commentary and the personal yearnings of the characters.  Mr. Marber and this skilled cast find the through lines of emotion that keep the audience engaged, connected, and on the edge of their seats.  

As in most of Mr. Stoppard’s work, he uses math as a metaphor for the action.  In this piece, it is the cat’s cradle.  The mathematician character ties three knots in string, then shows the children how to play.  He points out the change in location of the knots every time the string changes shape.  These coordinates seem random when looked at independently, yet, as one of the children points out, they are very much determined by the previous position and movement of the string.  This represents the migration of the Jewish people over centuries, never having a land of their own, being forced to move by varied political and social upheaval. 

Photo courtesy of Leopoldstadt

During a political discussions in the 1924 scene, one of the characters asks, “Do you really think it will happen again?”  She is referring to the hatred that keeps the Jewish people persecuted and transitory.  The characters have no idea what is ahead for them.  When we get to the final scene, where three family members are reunited in 1955, they read off the names on their family tree.  They solemnly state the names of their family members who were killed in Auschwitz.  Tom Stoppard gives us pause to identify the hatred that was strongly present int the 20^th Century and recognize it is still alive in the 21^st.  This profound moment pulls the meaning of this fifty-six year story together.  It is a visceral moment of awareness and a bold statement on the continuous legacy of hatred throughout history.

Leopoldstadt is playing at the Longacre Theatre.  You must see this play!

Domenick Danza

Ohio State Murders

 Ohio State Murders
James Earle Jones Theatre
December 26, 2022 

Photo courtesy of Ohio State Murders

Audra McDonald transforms herself into the role of Suzanne Alexander in Adrienne Kennedy’s Ohio State Murders.  She shares the stage with four skilled actors, yet the piece plays like a one-character show.  The other characters enhance the action and keep it centered in the present, while Ms. McDonald’s character narrates the full story, weaving through time with an emotionally impactful outcome.  Director Kenny Leon carefully finds the moments for Ms. McDonald to explore rich subtext that draws the audience in and fully connects them to the main character’s journey.

Suzanne Alexander (played by Audra McDonald) is asked where the violent images in her work come from.  This questions takes her back to the years she spent at Ohio State University.  As a young Black woman, she faces the limitations place on her and dives into her literature studies.  She is enamored by her professor, Robert Hampshire (played by understudy Christian Pedersen).  He recognizes the brilliance in her papers and assignments.  She is asked to leave the dormitory when she finds out she is pregnant.  Shunned by her parents, she goes to live in New York City with her Aunt Louise (played by Lizan Mitchell).  She gives birth to twin girls, and, supported by her aunt, returns to Ohio State to continue her studies.  Everything is progressing well, until the abduction and murder of one of her twin baby girls.  She stays at Ohio State, hoping to find out who committed this horrendous crime.  It is not until two years later, when her second daughter is murdered, that she finds out.  All is kept private, until she is asked about the violent images in her work.  She then speaks freely. 

Photo courtesy of Ohio State Murders

Adrienne Kennedy’s writing is compelling.  It has a natural flow that keeps the audience hanging on for the next sentence.  The piece is relatively chronological, yet has subtle loops in time that reveal details that deepen the action and propels it forward.  These are powerful moments that make the audience listen more intently and think more acutely.  

Audra McDonald encompasses every nuance in Ms. Kennedy’s writing.  She personalizes the character’s experience at Ohio State in the 1950’s so you can feel the atmosphere and identify with her challenges.  Ms. McDonald finds the richness beneath the written words, creating a character with genuine depth.  She is eager, vulnerable, and tenacious.  You can see the weight of character’s life experiences in Ms. McDonald’s eyes in the opening scene.  By the end of the story, you fully comprehend what she carries. 

Ohio State Murders is playing at the James Earl Jones Theatre through February 12.  The renovation of the theatre is remarkable.  This play is the perfect way to celebrate the new space.  Don’t miss it! 

Domenick Danza

Des Moines

 Des Moines
Theatre for a New Audience
Polonsky Shakespeare Center
December 23, 2022 

Photo courtesy of Theatre for a New Audience

Denis Johnson crafted his play Des Moines with mesmerizing dialogue that captures interest and builds intrigue.  His characters are on the edge, dark, and simmering.  The Theatre for a New Audience production is riveting.  Director Arin Arbus uses Mr. Johnsons rhythms and silences to lure the audience and involve them in the action.  Once engaged, there is no release, just a plunging spiral, fueled by unwavering hope.

Michael Shannon, Johanna Day, & Arliss Howard
Photo courtesy of Theatre for a New Audience

Dan (played by Arliss Howard) is home from work at the Car Barn, where he drives a taxi.  He and his wife Marta (played by Johanna Day) share the news of their day.  A woman, Mrs. Drinkwater (played by Heather Alicia Simms) came by Dan’s work to inquire about a ride he gave her husband to the airport.  It was her husband’s final cab ride.  His plane crashed and he was killed.  Mrs. Drinkwater asks Dan about her husband’s last words, then shows him her husband’s wedding ring, which she accidentally leaves with Dan.  Marta tells Dan that Father Michael (played by Michael Shannon) will be stopping by, which reminds Dan that he saw Father Michael outside a gay bar at closing time, wearing woman’s make-up.  When Father Michael arrives, Marta breaks the news to Dan that the Doctor told her she has two to four months to live.  They decide to go out for a drink, leaving Father Michael with Jimmy (played by Hari Nef) who is in a wheelchair due to complications during sex change surgery.  When Mrs. Drinkwater arrives to pick up her husband’s wedding ring, the drinking begins.  When Dan and Marta return, the drinking accelerates.  They all sing Karaoke, baring their souls in a drunken frenzy.  Morning comes.  They all stand tall to face the day ahead.  

Arliss Howard & Hari Nef
Photo courtesy of Theatre for a New Audience

This cast of actors each create truthful, multi-layered characters, who are all driven by deep need and propelled by boundless energy.  The action builds as these drives connect, uniting them on their journey of facing insurmountable personal challenges.  Each actor has a clear sense of what keeps their characters moving forward.  This is what sustains the audience’s investment in the heightened action.  There is sorrow, but no grieving  There is conflict, but no animosity.  They spiral into darkness, then slowly and steadily rise with hope.

The Theatre for a New Audience production of Des Moines is masterfully conceived and skillfully directed and performed.  Denis Johnson has written a truly unique piece of theatre.  You become one with these character in their bizarre mingling and faithful persistence.  The play is compelling and thought provoking.  This production has been extended through January 8 at the Polonsky Shakespeare Center in downtown Brooklyn.  

Domenick Danza

A Man of No Importance

 A Man of No Importance
Classic Stage Company
December 17, 2022 

Photo courtesy of Classic Stage Company

The Classic Stage Company production of A Man of No Importance is stunning and heartwarming.  It is based on the 1994 film of the same title.  The book, by Terrance McNally, delves into the characters and weaves them into emotional connections that forever change their outlooks.  The music, by Stephen Flaherty, creates an atmosphere that draws you in.  You feel part of this close-knit community.  Lynn Ahrens lyrics propel the action forward by deepening the awareness of the character’s inner lives.  John Doyle directed and designed the production to flow seamlessly and fill the space with poetry, passion, and tenderness.

It is the 1960’s in Dublin Ireland.  Alfie Byrnes (played by Jim Parsons) is a conductor for Dublin’s public transportation system, collecting tickets and reciting poetry to his passengers.  When he is told by Father Kenny (played by Nathaniel Stampley) that his theatre production of Oscar Wilde’s Salome cannot take place in the church hall because of its immoral content, it sends him into a period of self-reflection.  He sees himself as a man of no importance.  He thinks back to the day he decided to move forward with his idea of directing Salome with his little theatre troupe.  Adele Rice (played by Shereen Ahmed) boards his bus for the first time.  She looks like an exotic princess to Alfie, so he convinces her to accept the role of Salome.  Alfie’s sister, Lily (played by Mare Winningham) is happy to hear Alfie talk about Miss Rice.  She feels this might be Alfie’s chance to find happiness, get married, and settle down.  She does not know about Alfie’s secret attraction to Robbie Fay (played by A.J. Shively), the driver on Alfie’s route, who is cast as John the Baptist in the play.  As the production of Salome comes under scrutiny, Alfie faces the truth about himself and his “love that cannot speak its name,” and finds more acceptance that he expected. 

A.J. Shively & Jim Parsons
Photo courtesy of Classic Stage Company

The story poetically unravels with simple honesty, which reflects the setting and time period.  The characters are all very well developed and beautifully performed.  Jim Parsons is grounded and tranquil as Alfie Byrne.  The character is committed to poetry, theatre, and the works of Oscar Wilde.  He cannot imagine why anyone would not be open and enthusiastic about experiencing and creating art.  Mr. Parsons portrays this character with genuine sincerity and conviction.  Mare Winningham is endearing as his siter Lily.  She supports her brother and pushes him to find happiness and love.  She is shocked when Alfie’s truth is revealed, yet she stands by him when he needs her most.  A.J. Shively is suave and outgoing as Robbie Fay.  He portrays the character as an average man seeking adventure in his day to day life in Dublin.  His friendship with Alfie is touching.

Photo courtesy of Classic Stage Company

There are equally amazing performances by Shereen Ahmed, Alma Cuervo, Kara Mikula, Da’Von T. Moody, Mary Beth Peil, Thom Sesma, Nathaniel Stampley, Jessica Tyler Wright, Joel Waggoner, and William Youmans.  A Man of No Importance extended it’s run at Classic Stage Company, yet unfortunately closes on December 18.  I hope this will not be the last we see of this show.  It is a rare gem, truly charming and uniquely moving.

Domenick Danza

Some Like It Hot

 Some Like It Hot
Shubert Theatre
December 9, 2022 

Photo courtesy of Some Like It Hot

The creators of Some Like It Hot have taken a much loved Hollywood classic and transformed it into a brand new Broadway musical.  The story has the same premise and structure as the film, yet develops the characters in unexpected ways that ring with sheer joy, while making direct and honest statements about the time period.  Marc Shaiman’s score is filled with one show stopper after another.  When he hits you with a ballad, you drink it in for all it’s worth.  The book by Matthew López and Amber Ruffin is sharp, funny, and full of surprises.  Casey Nicholaw masterfully directs and choreographers with a clear vision and potent delivery.

When Joe (played by Christian Borle) and Jerry (played by J. Harrison Ghee) witness a mob hit while playing a club in Chicago, they are forced to put on dresses and join an all girl’s band that is headed to California.  Sweet Sue (played by NaTasha Yvette Williams) formed the band as a way to get out of playing Speakeasies.  She hired Sugar (played by Adrianna Hicks) as her lead singer, who is always late and breaks all the band’s rules.  Joe, now called Josephine, is strongly attracted to Sugar, while Jerry, who now goes by Daphne, is finding himself very comfortable dressing as a woman.  When they get to California, Daphne meets Osgood (played by Kevin Del Aguila), a wealthy hotel owner.  Osgood sweeps Daphne off to Mexico for a romantic night of dancing, where Daphne gains her confidence.  Meanwhile, Joe, disguised as a film director, takes Sugar for a date on Osgood’s yacht.  They talk (and dance) and fall in love (Fred and Ginger style).  When the gangsters show up in California to invest in Sweet Sue’s all girl band, all hell breaks loose, and it’s time to face the music. 

Christian Borle & J. Harrison Ghee
Photo courtesy of Some Like It Hot

Christian Borle and J. Harrison Ghee are a dynamic team.  Their comic timing is perfect and they dance as one.  Adrianna Hicks is vibrant as Sugar.  Her character belts out the ballads in the score, creating grounded, truthful, and riveting moments.  NaTasha Yvette Williams creates the through line of action for the show as the no-nonsense, sarcastic Sweet Sue.  She keeps the pace moving.  Her singing rocks the house.  Kevin Del Aguila plays both comedy and romance with equal dexterity as Osgood.  He takes the funniest moments and shifts to heartfelt sincerity in an instant.   

Adrianna Hicks as Sugar
Photo courtesy of Some Like It Hot

While in Mexico, the character of Jerry realizes that Daphne is more than just a disguise, but an opportunity to be himself.  J. Harrison Ghee plays this as a genuine awakening.  It is touching and truthful, yet Mr. Ghee finds the timing that brings the laughs.  His warmth and vulnerability are magnetic.  His song, “You Coulda Knocked Me Over With a Feather” is flawlessly performed and impeccably written (lyrics by Scott Wittman and Marc Shaiman).  

The climax of Act II is a tap dancing, door slamming, farcical chase that ends with a bang.  It is like nothing you’ve ever seen before.  Some Like It Hot is sure to be a big hit.  You’ve got to see it!   

Domenick Danza