A Will to Live

 A Will to Live
Chain Theatre
August 26, 2023 

Photo courtesy of Chain Theatre

Chain Theatre took on a monumental project by adapting Helena Weinrauch’s Holocaust memoir, A Will to Live, into a one woman theatre piece.  The outcome is a production of pure gold.  The memoir was originally written in 1945.  Kirk Gostkowski, who adapted the piece, said that when he read it, the words “were fresh and unique.  It felt like a primary document, and it needed to be preserved.”  In striving for this, Mr. Gostkowski has kept the perspective pure and authentic.  This piece honors Ms. Weinrauch’s words and experiences, and reminds us of the value and fragility of life. 

We first meet Helena (played by Masha King) when she wakes up in a hospital bed in Sweden.  She starts to tell of how she got there.  The allied soldiers were piling the skeletal bodies of the deceased prisoners from a Nazi concentration camp, when one soldier noticed her body was still warm.  She was rushed to the medic, then transported to a hospital in Sweden.  She now spends the days staring at the lake from her hospital window, catatonic, hiding food out of fear of starvation, and trusting no one.  She takes us back to her sixteenth birthday.  She is living in Germany with her parents and older sister.  The Russians invade, causing her family to separate in order to remain safe.  Then the Nazis take power.  While she is at work, the Nazis sweep her town for Jewish residents, taking her parents and sister.  She is alone.  Her boss helps her obtain false papers and puts her on a train to a different city.  She hides in plain sight under an assumed identity, until she is recognized by someone from her home town.  What follows is years of torture, dehumanization, hard labor, and starvation in three different Nazi concentration camps.   She survives. 

Masha King as Helena Weinrauch
Photo coourtesy of Chain Theatre

Masha King delivers a masterful performance as Helena Weinrauch.  She is alone on stage for two and a half hours (with a ten minute intermission).  Her performance is flawless.  She ages in front of you.  You see the emotional toll on her face, and feel it in her eyes.  Her center shifts as the physical pain overwhelms her, yet she does not succumb.  Ms. King’s ability to embody these expereinces, but not delve so deeply as to cause the audience to look away, is phenomenal.  She takes the audience from one horrific event to the next, carrying the weigh and devastation, while keeping the audience connected to every step of her journey.  

Rick Hamilton has directed this piece with such skill and sensitivity that you are fully present and absorbed, yet not overwhelmed by the violence and demoralization.  You wait for the next action, hoping it will bring resolution, only to delve deeper and darker into more horrific events.  When  the second act starts, the main characters tells of the years she spent in three different concentration camps, including Auschwitz.  Mr. Hamilton brilliantly keeps the action moving at a brisk pace, keeping the audience fully engaged, while limiting the time to process the horrors taking place.  The audience has no choice but to move forward, as does the main character.  The audience hangs on her every word, taking it all in, and gathering every detail of evidence from her experiences. 

Masha King as Helena Weinrauch
Photo courtesy of Chain Theatre

Every choice in this production was clearly made to honor the words and experiences of Helena Weinrauch.  The main character speaks directly to the audience as if sharing her story with a friend.  The other characters are heard as voice overs, keeping the focus fully on the main character.  At the age of 101, Ms. Weinrauch is still alive and living in New York City.  We hear her voice and see footage of her in the epilogue of the piece.  To hear her say how she has forgiven those who caused her harm and carries no hate is truly cathartic.  She says that hate is evil, and to respond with hate perpetuates the evil that caused the devastation.  This piece reminds us of the atrocities in our history, and speaks loudly to why we need to remember so as not to repeat. 

Over the years Chain Theatre has built a strong reputation for quality work, and this production raises the bar even higher.  A Will to Live is playing through September 16.  It is an important piece of theatre.  Get a ticket right away! 

Domenick Danza

Pay the Writer

 Pay the Writer
The Pershing Square Signature Center
August 24, 2023 

Photo courtesy of Pay the Writer

Pay the Writer tells the story of the bond between a novelist and his Literary Agent.  Playwright Tawni O’Dell has crafted a touching play that explores the complex relationships in the lives of these characters.  The result is well developed characters who are identifiable and empathetic.  Her scenes are driven by conflict and consistently land with an emotional punch.  Director Karen Carpenter works with an excellent cast, allowing them space to create genuine relationships that are at the heart of the story.

We first meet Bruston Fischer (played by Bryan Batt).  He is a Literary Agent to world famous novelist, Cyrus Holt (played by Ron Canada).  Cyrus has completed a new novel, and sent it to his translator, Jean Luc (played by Steven Hauk), before sharing it with Bruston, which hurts his feelings.  When Jean Luc admits to Bruston that he does not like the novel, Bruston immediately defends Cyrus, and forcefully tell Jean Luc how to best handle the situation.  The next day, Cyrus tells Bruston that he “accidentally” called his first wife, Lana (played by Marcia Cross), at 2:00 in the morning.  He hung up quickly, and she immediately called back.  He did not answer his phone, so she tracks Cyrus down to the restaurant where he and Bruston are dining.  There are instant fireworks, and Bruston tries to decelerate the confrontation with humor.  When Lana gets Bruston alone, he reveals to her that Cyrus is sick and hasn’t got long to live.  She calls their two estranged children, Leo (played by Garrett Turner) and Gigi (played by Danielle J. Summons).  Lana hopes they can reconcile their relationship with their father before it is too late. 

Bryan Batt & Ron Canada
Photo courtesy of Pay the Writer

Some of the more intriguing scenes are the flashbacks between younger versions of Bruston (played by Miles G. Jackson) and Cyrus (played by Garrett Turner).  We see these two characters as eager professionals looking to make a name for themselves.  They build a friendship that stems from opportunity and ambition.  The roots of this relationship that Mr. Jackson and Mr. Turner lay down in their scenes is strongly evident in the way Mr. Batt and Mr. Canada interact as the older versions of the characters.  These four actors have a strong connection and captivating chemistry. 

Marcia Cross, Bryan Batt, & Ron Canada
Photo courtesy of Pay the Writer

Marcia Cross is a burst of energy as Lana Holt.  She is fiery, wrathful, and spurred by a deep love for Cyrus.  This energy is mirrored in Danielle J. Summons’ portrayal of her daughter, Gigi.  Director Karen Carpenter highlights the important parallels of all the characters throughout the story to keep the audience engaged.  They are all motivated by their need to connect and heal.  Their greatest obstacle is the hurt they hold inside themselves.  

Danielle J. Summons & Ron Canada
Photo courtesy of Pay the Writer

Playwright Tawni O’Dell brings back Cyrus’ unread manuscript toward the end of the play to place the light on the one consistent relationship in Cyrus’ life.  After rehashing his personal failures and shortcomings, and making amends where needed, Cyrus acknowledges the value in his connection with Bruston.  The final scene is Bruston Fischer alone on stage, as in the opening, talking about his job as Cyrus Holt’s Literary Agent… and friend.

Pay the Writer is playing at The Pershing Square Signature Center through September 30.  It is skillfully crafted, well directed, and beautifully acted. 

Domenick Danza

Here Lies Love

 Here Lies Love
Broadway Theater
August 20, 2023 

Photo courtesy of Here Lies Love

It is not the story, but the telling of the story that makes for compelling theatre.  That being said, Here Lies Love is a truly unique theatrical event that must be experienced.  It is about the rise to power of Ferdinand and Imelda Marcos in the Philippians.  The show contains no spoken dialogue.  The concept, music, and lyrics by David Byrne, music by Fatboy Slim, and additional music by Tom Gandy & José Luis Pardo ingeniously keep the narrative clear and fills the Broadway Theatre, which is unrecognizable.  The scenic design by David Korins takes over the entire space from the upper balcony to the orchestra pit.  Lighting design by Justin Townshend, sound design by M.L. Dogg & Cody Spencer, and projection design by Peter Nigrini complete the high tech effects that plunge the audience into the emotional turmoil of a political takeover, fully submerging them, and making this a powerful experience that is not to be missed.

Photo courtesy of Here Lies Love

The story line covers the past seventy-five years of the political history of the Philippians, with the central character being Imelda Marcos (played by Arielle Jacobs).  We first meet her as a naïve teenager with her close friend Estrella (played by Melody Butiu).  Imelda meets and dates a rising political figure, Ninoy Aquino (played by understudy Aaron Alcaraz).  After he breaks it off with her, she goes on to win a local beauty pageant.  She then moves to Manilla, where she catches the eye of Ferdinand Marcos (played by Jose Llana).  They wed before he is elected president of the Philippians.  Ninoy Aquino speaks against the Marcos’ excessive spending while the people of the Philippines live in poverty.  When it is revealed that Ferdinand Marcos has a child with movie actress Dovie Beams (played by Julia Abueva), Imelda’s popularity soars.  She declares her love and commitment to the people of the Philippines.  As protests demanding reform grow violent, Marcos declares Marital Law and Aquino is arrested.  He is later exiled to the United States, but decides to return to the Philippians after Marcos’ health crisis is announced.  Aquino is assassinated upon his return.  Thousands of people take to the streets.  After four days of peaceful protests, later called The People Power Revolution, Imelda and Ferdinand Marcos are airlifted out of the Philippians by the U.S. Marines.  

Photo courtesy of Here Lies Love

The most impactful and emotional moment of the show is the ending.  All the tech, lights, projections, and disco music is silenced.  The words of the people involved in The People Power Revolution is sung with an acoustic guitar.  One by one the cast enters to join the singing, no longer wearing glitzy outfits, but dressed as everyday citizens.  The power in that moment is riveting.  It is a relief, a breath of life after experiencing the ninety minutes of hype and excitement.  The message told and the value of the voices of the people fill the silenced theater with truth and compassion.  

Photo courtesy of Here Lies Love

Director Alex Timbers has orchestrated an outstanding cast and creative team of brilliant designers and theatre technicians to create an immersive experience like no other.  The audience is swept into a political upheaval, without realizing the emotional manipulation involved.  It is not until they awaken at the end, when all the hype falls away, that they are brought to their senses.  It is a brilliantly directed piece of theatre with an important message we all need to listen to. 

Here Lies Love is playing at the Broadway Theatre.  It is a one of a kind, not to be missed experience. 

Domenick Danza

The Cottage

 The Cottage
The Hayes Theater
August 11, 2023 

Photo courtesy of The Cottage

The Cottage is just the light, raucous, whimsical sex farce Broadway audiences need to see right now.  It is packed with improbable situations that deliver laughs and culminate in unpredictable predicaments.  Director Jason Alexander has done a stupendous job at polishing the style, rhythm, and timing in playwright Sandy Rustin’s hysterical writing, delivering a polished must-see production.

Laura Bell Bundy & Eric McCormack
Photo courtesy of The Cottage

For the past seven years, Beau (played by Eric McCormack) and Sylvia (played by Laura Bell Bundy) have been meeting once a year, to enjoy a sordid night of wild sex at Beau’s family cottage in the English Countryside.  Sylvia has decided it’s time to come clean.  She sends both her husband, Clarke (played by Alex Moffat), and Beau’s wife, Marjorie (played by Lilli Cooper), telegrams, confessing her love for Beau and their desire to be together.  Beau does not share this deep sentiment, and is not too happy when both Marjorie, who is eight months pregnant, and Clarke, who happen to be his younger brother, show up at the cottage.  Marjorie confesses that she and Clarke have been carrying on a love affair for the past seven years, and the baby she’s carrying belongs to Clarke.  Just as things are about to settle, Beau’s lover, Dierdre (played by Dana Steingold), arrives to tell him she has gotten a divorce from her husband, Robert (played by Nehal Joshi), and he is heading to the cottage to kill Beau. 

Photo courtesy of The Cottage 

That’s just the first Act.  Act II is full of twists and turns and unexpected surprises, as the couples try to make sense of their dilemmas and fulfill their emotional needs.  Playwright Sandy Rustin leaves no stone unturned and boldly delivers on every detail she sets up throughout the story.

The cast is over the top.  Their characters are distinct, and their chemistry is remarkable.  Eric McCormack is sophisticated and self-important as Beau, which plays amazingly well against  Laura Bell Bundy’s daring and sassy Sylvia.  Alex Moffat’s physical timing is perfection, which balances Lilli Cooper’s pushy and elegant portrayal of Marjorie.  Dana Steingold is cunning and perky as Dierdre, which contrasts with Nehal Joshi’s Richard, who is dark and mysterious.  Each character is driven by excessive neediness, which keeps the humor running at an impeccable pace. 

If you need a laugh, this is the show to see.  The production is beautifully designed by Paul Tate dePoo III (set), Sydney Maresca (costumes), and Jiyoun Chang (lighting).   The Cottage is playing at the Hayes Theater.  Don’t miss it!

Domenick Danza

The Shark Is Broken

 The Shark Is Broken
Golden Theater
August 5, 2023 

Photo courtesy of The Shark Is Broken

The Shark Is Broken tells the behind the scenes stories of the three main actors from the movie Jaws.  It is funny, touching, and remarkably entertaining.  As the characters talk about their art, their careers, and the future of the movies, the audience gains insight into their faults, their goals, and how the world has not changed much in the past fifty years. 

Richard Dreyfuss (played by Alex Brightman), Roy Scheider (played by Colin Donnell), and Robert Shaw (played by Ian Shaw) are stuck on a boat between takes of filming the movie Jaws.  The mechanical shark has broken down again, so production is further delayed.  Richard Dreyfuss is wining about how cold it is.  Robert Shaw is impatient and drinking heavily.  Roy Scheider is reading the New York Times, maintaining his focus.  While Richard Dreyfuss is hoping this movie will make him a star, Robert Shaw knows that it will fail creatively, but probably make a lot of money at the box office.  These two men go head to head on a number of issues, both personal and professional, while Roy Scheider acts as referee, keeping them from killing each other.  

Alex Brightman as Richard Dreyfuss
Photo courtesy of The Shark Is Broken

The three actors perfectly capture the men they are playing, both physical and vocally.  Alex Brightman delivers the laughs as Richard Dreyfuss.  He genuinely portrays the insecurities and paranoia of the character.  The audience gains a keen insight into Mr. Dreyfuss through clear backstory and a brilliant performance.  Colin Donnell portrays Roy Scheider as the calm, level-headed one in the group.  When he reaches his breaking point, it is both surprising and satisfying.  Ian Shaw is boisterous and forceful as Robert Shaw.  He drinks heavily and has a short fuse.  The exposition about his childhood and relationship with his father is beautifully written and masterfully performed.

Colin Donnell as Roy Scheider
Photo courtesy of The Shark Is Broken

The energy levels of the three portrayals complement one another very well.  There are numerous arguments and a few brawls.  Every conflict builds powerfully, and is followed by honest moments of camaraderie and understanding between them.  They share one common goal, which is to make a movie.  No frustration, fight, breakdown, or tantrum gets in the way of their achieving that.  Their final scene before wrapping is Robert Shaw’s monologue from the movie, which he re-wrote himself before filming.  It sums up their struggle, and ends the show with a truthful moment.

Ian Shaw as Robert Shaw
Phtos courtesy of The Shark Is Broken

The play is written by Joseph Nixon and Ian Shaw (son of Robert Shaw), so the stories carry a level of credibility.  Director Guy Masterson keeps the action tight and moving in the confines of the setting.  Video design by Nina Dunn, lighting design by Jon Clark, and sound design by Adam Cork combine to create a turbulent and fast changing atmosphere that enhances the action of the storyline. 

The Shark Is Broken is a unique tale, well-conceived and expertly told.  If you are a fan of Jaws, you must see this play.  If you have not seen the movie, you will still find it riveting.  It is  playing at the Golden Theatre. 

Domenick Danza