The Night of the Iguana

 The Night of the Iguana
La Femme Theatre Productions
The Pershing Square Signature Center
December 30, 2023 

Photo courtesy of
La Femme Theatre Productions

The La Femme Theatre Productions’ presentation of Tennessee Williams’ The Night of the Iguana is riveting.  Director Emily Mann has gathered a stellar cast and masterfully guided them through Mr. Williams’ poetic writing.  The characters are viscerally portrayed, desperately in need, and grasping at whatever life-line they can find.  Set design by Beowulf Boritt and lighting design by Jeff Croiter create a sultry atmosphere for this deeply complex journey.

Reverend T. Lawrence Shannon (played by Tim Daly) is guiding a bus tour of women from a Texan Christian University through Mexico.  He takes a detour to Hotel Costa Verde, looking for his friend Fred.  Upon his arrival, Fred’s wife, Maxine (played by Daphne Rubin-Vega) informs him that Fred recently died.  Maxine immediately sees that Shannon is having a break down, something she nursed him through in the past.  He was asked to leave his position in the church after preaching an inappropriate sermon and having relations with an under-aged member of his congregation.  Shannon is repeating this pattern of behavior on his bus tour.  Judith Fellows (played by Lea DeLaria) is bringing him up on statutory rape charges after he spent the night with Charlotte Goodall (played by Carmen Berkeley), an under-aged member of the bus tour who she is chaperoning.  While trying to convince the tour patrons to stay at Hotel Costa Verde instead of the more modern downtown hotel, Hannah Jelkes (played by understudy Dee Pelletier) arrives with her grandfather, Jonathan Coffin (played by Austin Pendleton).  Shannon takes Hannah’s side and convinces Maxine to give them a room, even though they are short on funds.  As Shannon’s anxiety reaches a breaking point, Hannah is the one who leads him to redemption.  

Daphne Rubin-Vega & Tim Daly
Photo courtesy of La Femme Theatre Productions

Tim Daly portrays the flawed Reverend Shannon with grit, guts, and stubbornness.  His actions are
aggressively motivated by hurt and damage.  He is a victim of his own self-indulgence, running from the cause of his pain and allowing the symptoms to rule his behavior.  Dee Pelletier (understudy) is grounded as Hannah.  She and Mr. Daly have a truthful connection, which allows to story line to build to a stunning conclusion.  Ms. Pelletier skillfully delivers genuine moments in the final scene that allow Mr. Daly’s character to open, calm, and make a choice.           

Daphne Rubin-Vega is sensual and tempestuous as Maxine.  Her jealousy over the attention Shannon gives to Hannah is palpable.  She is a powerful adversary to Ms. Pelletier’s Hannah.  There are also strong performance by Lea DeLaria, Carmen Berkeley, and Austin Pendleton. 

The Night of the Iguana is playing at the Pershing Square Signature Center through February 25.  This Tennessee Williams classic is rarely revived, and this production is well worth seeing. 

Domenick Danza

The Minutes

 The Minutes
Studio 54
May 28, 2022 

Photo courtesy of The Minutes

Playwright Tracy Letts is very well known for bold, direct, in-your-face storytelling, yet The Minutes tops them all.  He crafted characters that are real.  You know them.  You like them.  You laugh at them.  You are them.  Mr. Letts structures this work so you follow these characters on their pursuit, yearning for the truth, until you find it.  Once you do, there is no going back.  

It is the weekly Big Cherry City Council meeting, a closed session.  Mr. Peel (played by Noah Reid) missed the previous meeting to attend his mother’s funeral.  He is welcomed back by Mayor Superba (played by Tracy Letts), who offers his condolences.  Mr. Peel asks the other council members what he missed from the previous meeting, including inquiring about Mr. Carp, another city council member (played by Ian Barford), who is not in attendance.  Everyone avoids these questions.  When the meeting starts, it is noted that the minutes from the previous meeting have not been prepared.  Mr. Peel is the only one concerned about this.  He continually brings up the absence of Mr. Carp and the omission of the minutes, yet his queries are incessantly avoided.  When an issue on the table requires a reference to the previous meeting, the minutes, which the clerk, Ms. Johnson (played by Jessie Mueller), was directed not to copy or distribute, are forced to be read.  The truth about Mr. Carp’s sudden disappearance is revealed, leaving Mr. Peel to make a life changing decision. 

Tracy Letts & Noah Reid
Photo courtesy of The Minutes

Mr. Letts brilliantly asks the question, “What happened to Mr. Carp?” in the opening scene.  This
driving questions draws you into about sixty minutes of action where you meet the characters and find out about the not too enthralling business of the town of Big Cherry.  You are fully engaged.  Truly invested.  The pay off, when the questions is answered, is far beyond any expectation.  Mr. Letts then takes it even further, giving insight into who we are as a nation and why we allow ourselves to become indoctrinated into beliefs and disciplines beyond imagination. 

Photo courtesy of The Minutes

The cast works as one solid unit, with leaders and outliers clearly defined.  The names of the characters offers insight into Mr. Lett’s intention for each character, and each actor delivers that intent superbly.  Noah Reid is naive and optimistic as Mr. Peel, persistently digging for the answers.  Tracy Letts is stalwart and steady as Mayor Superba.  Jeff Still and Cliff Chamberlain are steadfast and stubborn as Mr. Assalone and Mr. Breeding.  Danny McCarthy and K. Todd Freeman engage in meaningless discourse as Mr. Hanratty and Mr. Blake.  Austin Pendleton and Sally Murphy distractingly deliver the laughs as Mr. Oldfield and Ms. Matz.  Blair Brown is along for the ride as Ms. Innes.  Jessie Mueller is no-nonsense as Ms. Johnson.  Ian Barford is determined and straightforward as Mr. Carp.  

If you see anything this season make it The Minutes.  There is a frightening level of truth in Mr. Lett’s depiction of this small town and the people who inhabit it. 

Domenick Danza

A Lovely Sunday for Creve Coeur

A Lovely Sunday for Creve Coeur

La Femme Theatre Productions

Theatre at St. Clements

September 22, 2018

Photo courtesy of
La Femme Theatre Productions

A Lovely Sunday for Creve Coeur, presented by La Femme Theatre Productions, poetically captures Tennessee Williams’ rhythms to draw you into the complexity of the characters.  Director Austin Pendleton orchestrates this stellar cast to gradually reveal their characters yearnings, motivations, and inner fears.  The scenic and lighting design by Harry Feiner magnificently creates a single room living space on the poorer side of St. Louis in 1939.  The overcrowded set dressing brilliantly reflects the characters’ deep need for fulfillment.  The four women in the cast gracefully dive beneath the surface to deliver heartfelt, genuine performances.

Dottie (played by Jean Lichty) is waiting for a very important call, while her roommate, Bodey (played by Kristine Nielson) is frying chicken and preparing deviled eggs for a Sunday picnic at Creve Coeur.  Bodey is obsessed with Dottie getting together with her brother, Buddy.  Dottie has her heart set on another man, the principal at the school where she teaches.  Bodey does not believe he is a good match for Dottie.  When Helena (played by Annette O’Toole) arrives and asks to speak to Dorothea, it takes Bodey a few minutes to realize she is asking for Dottie.  Helena is a teacher at the same school as Dottie.  They have been planning on getting an apartment together in a more affluent neighborhood, and Helena is there to collect the down payment.  Bodey thinks Helena is there to break some disturbing gossip to Dottie, and tries to keep them from speaking privately.  The presence of Miss Gluck (played by Polly McKie), the upstairs neighbor who suffers from depression due to the recent death of her mother, triggers specific reactions from each of the three women.  When Helena finally has a private moment with Dottie, she has to face her greatest fear.   

Kristine Nielsen, Jean Lichty, & Annette O'Toole
Photo courtesy of La Femme Theatre Productions

Tennessee Williams creates three highly complex characters in Dorothea (Dottie), Bodey, and Helena.  Dorothea is the fragile, idealistic, and aging Southern Belle who puts tremendous effort into maintaining her superficial and calm façade.  Jean Lichty reveals Dottie’s true heart in the opening scene with Bodey.  Their friendship is genuine.  Kristine Nielsen portrays Bodey as highly protective of Dottie.  Bodey’s personal need for Dottie to marry her brother is never spoken, but viscerally communicated by Ms. Nielsen.  When Dottie faces her fears in the climax of the play, Ms. Lichty relies on the genuine connection she created in the opening scene to build her character’s courage and fortitude.

Annette O’Toole’s Helena is highbrow and uptight.  Her entrance immediately creates a problem for Bodey.  Ms. O’Toole and Ms. Nielsen explore many levels of this conflict.  They build and vary their tone and physicality.  Even when they find a moment of agreement, they never drop the tension of competition.  After all her aggressive behavior, Ms. O’Toole is still able to elicit empathy when Helena’s deep sense of isolation is uncovered.

Annette O'Toole, Jean Lichty, Kristine Nielsen, & Pollu McKie
Photo courtesy of La Femme Theatre Productions

Miss Gluck represents the lonely end that each of the three women fear.  Polly McKie creates a dark and imposing presence that none of the other actors on stage can avoid.  She is what unites these characters in their struggle to survive.

This lesser produced Tennessee Williams play is a gem of complexity.  As he does in his other works, Williams sets up the fragile, artistic soul of the main character.  In this play, however, he surprises us by revealing the tender and vulnerable side of the characters who push their expectations on her.  Austin Pendleton and this marvelous cast take the audience on a truthful and intimate journey.  A Lovely Sunday for Creve Coeur is playing at the Theatre at St. Clements through October 21.   

Domenick Danza

The Traveling Lady

The Traveling Lady

La Femme Theatre Productions

Cherry Lane Theatre

June 17, 2017

Photo courtesy of
La Femme Theatre Productions

La Femme Theatre Productions is currently presenting Horton Foote’s The Traveling Lady at Cherry Lane Theatre.  Director Austin Pendleton successfully captures the pace and tone of Mr. Foote’s “small Texas town” in 1950.  The cast authentically portrays heartfelt camaraderie, Bible belt values, and compassion that is appropriate for the characters and time period.  The scenic and lighting design by Harry Feiner create an atmosphere that is warm, comfortable, and inviting.

Georgette Thomas (played by Jean Lichty) arrives at a new town with her six year old daughter, Margaret Rose (played by Korine Tetlow).  They are there to meet her husband Henry (played by PJ Sosko), who is being released from the penitentiary.  Slim Murray (played by Larry Bull) and his sister Clara Breedlove (played by Angelina Fiordellisi) take them in while Henry tries to secure a house for them.  When Henry reverts to his troublesome behavior, the journey for Georgette and Margaret Rose takes an unexpected detour.

Lynn Cohen, Karen Ziemba, & Angelina Fiordellisi
Photo courtesy of La Femme Theatre Productions

The women of this small Texas town have long time solidarity.  Except for the aging Mrs. Mavis (played by Lynn Cohen), who holds a few secrets, they know everything about one another and the comings and goings of all their neighbors.  Lynn Cohen, Angelina Fiordellisi, Karen Ziemba, and Jill Tanner create true believable relationships between these women, which sets the tone for the whole play.  Jean Lichty genuinely portrays the stranger coming into this group with warmth and sincerity.  The chemistry between her character (Georgette) and Larry Bull’s character (Slim) is subtle and clear.  Their connection keeps the action of the play flowing forward.  PS Sosko is energetic and honest as Henry Thomas.  His character is fallible and empathetic.

  

Photo courtesy of Cherry Lane Theatre

If you are a fan of Horton Foote, you will definitely enjoy this production.  It will capture your heart and take you back to simpler times.  The Traveling Lady is playing at Cherry Lane Theatre through July 16.

Domenick Danza

A Taste of Honey

A Taste of Honey

The Pearl Theater Co.

September 17, 2016

Photo courtesy of The Pearl Theatre Co.

A Taste of Honey is receiving a poignant and well-deserved revival at The Pearl Theatre Co.  Director Austin Pendleton finds just the right pace and tone that brings texture and relevance to Shelagh Delaney’s timeless and valuable script.  The cast delivers authentic and moving performances in this raw and honest production. 

The play tells of the complex relationship between Jo (played by Rebekah Brockman) and her mother, Helen (played by Rachel Botchan).  Helen abandons Jo when she jumps at the chance to marry Peter (played by Bradford Cover), a man with some money and means.  There is hope that Jo will have a future with her sailor boyfriend, Jimmy (played by Ade Otukoya), but he does not return from service, leaving her pregnant and alone.  She befriends Geoffrey (played by John Evans Reese), an outcast gay male.  Geoffrey takes over Jo’s care.  Any sense of security is thrown into disarray when Helen returns and discovers that Jo is carrying a biracial baby.

Rachel Botchan & Rebekah Brockman
Photo courtesy of The Pearl Theatre Co.

The plot does not sound very daring, but keep in mind that A Taste of Honey was first produced on the West End of London in 1958.  Portraying unmarried mothers, homosexuality, and biracial relationships was shocking and groundbreaking at that time.  Not only that, but playwright Shelagh Delaney was only eighteen when she wrote the play.  The severity of the dialogue and the depth of the characters are skillfully developed for a playwright of any age and experience level.  Her dialogue boomerangs, creating levels of emotional response in the relationships that unmask prolific characters and an insightful point of view. 

Rachel Botchan, Bradford Cover, & the Musicians
Photo courtesy of The Pearl Theatre Co.

Rebekah Brockman is sad, brooding, strong, and intense as Jo.  Her character runs directly into conflict, fights like mad, then retreats.  She generates a formidable level of empathy.  Rachel Botchan portrays Helen as a fierce survivor.  Her actions might be deplorable, yet you understand they are based on her limited choices.  John Evans Reese is charming and willful as Geoffrey.  He remains stoic and determined in his commitment to Jo, and never loses his sense of humor.

The characters’ fears and biases reflect their economic struggles and are not limited to the time period of the play.  The needs, expectations, and emotional conflicts in the relationships are pertinent to every generation. 

A Taste of Honey runs at the Pearl Theatre Co. (on 42^nd Street between 10^th and 11^th Ave.) through October 30.  Be sure to see it!

Domenick Danza

Nora

Nora

Cherry Lane Theatre

December 7, 2015

Photo courtesyj of Cherry Lane Theatre

The Cherry Lane Studio Theatre is the ideal location for the dark and intimate production of Nora, a stage version of Ibsen’s A Doll’s House, by Ingmar Bergman.  With audience on three sides in that small venue, everyone is able to obtain an up close and personal connection to the characters and their challenges.  The play is set in the time period of Ibsen’s original script, yet the location is not specified.  The subordinate role women play, although spoken about, is not portrayed through action.  We also do not see Nora interacting with her children.  Therefore, Nora’s decision to leave her husband and children at the end of the play is not as risky, shocking, or impactful as intended by Ibsen.

Jean Lichty and Todd Gearhart
Photo courtesy of Cherry Lane Theatre

Jean Lichty and Todd Gearhart are focused and thoughtful as Nora and Torvald.  Their relationship is strong, yet this adaptation lacks the playful “doll” aspect that is the basis for their attraction and marriage.  When Nora’s act of forgery is revealed, Torvald’s self-preserving reaction is clear and in the moment.  We do not, however, see Nora come to any realization in that scene.  Bergman holds off on Nora’s confrontation with her husband until later that night.  While he lies naked in bed, she awakens him, fully dressed, ready to leave.  Torvald is confused by her decision to walk out on him and the children.  He claims he is willing to change, yet she is unrelenting.  Torvald is victimized by her decision.  This feeling is heightened by director Austin Pendleton’s staging.  At the end of the play, Torvald is seated on the bedroom floor, naked and wrapped in a blanket from the bed. 

  

Jean Lichty and Larry Bull
Photo courtesy of Cherry Lane Theatre

The portrayals of Christine Linde and Nils Krogstad, by Andrea Cirie and Larry Bull, are dark and formal.  The sadness they carry due to their life experiences weighs heavy on them both.  The combination of this with their strong, palpable chemistry creates an intriguing storyline.

The hardship and despair in the lives of all the characters is evident and skillfully portrayed.  By the end of the play they are all cleansed of the guilt of their secrets and shame.  If this is Bergman’s intention, it is well directed and performed.  A journey to awakening, such as Nora’s, needs to have some sense of hope, awakening, and continuity.  Unfortunately, Bergman’s adaptation has stripped Ibsen’s play of those moments, leaving behind nothing more than a dark journey of loss and despair.

Domenick Danza

Between Riverside and Crazy

Between Riverside and Crazy

Second Stage Theatre

February 20, 2015

      Photos courtesy of Second Stage Theatre

I finally saw Between Riverside and Crazy, and am sorry I waited so long.  I saw advertisements for months, and read a very good review when it played at The Atlantic Theater Company this past summer and fall.  I read that the Second Stage Theatre’s production was a well-produced continuation of that run with mostly the same cast.  I sat in the theatre, waiting for the show to start, listening to the peculiar meditation-style music and realizing that from where I was sitting I was not going to be able to see all the action of the play.  The set was an interior with multiple rooms that were not in full view from my seat in house left.  I felt joy and excitement when the lights dimmed, the music gained some bass and rhythm, and the set spun on turn table to reveal all three rooms of the apartment, bringing the action down stage center.  I was not the only one to applaud Walt Spangler’s realistic, dilapidated, high-ceiling rendition of a Riverside Drive apartment.  Before a word was spoken, this set pulled me into a realistic and stark world that prepared me for the genuine depiction of the human experience that was to come. 

Stephan McKinley Henderson, Victor Almanzar, and Ron Cephas Jones 

in "Between Riverside and Crazy." Photo: Carol Rosegg

 Act I started with sharp dialogue that defined the characters right off the bat.  The main conflict was introduced in scene two as the backstory of the main character, Pops, played flawlessly by Stephen McKinley Henderson, was revealed.  The action dramatically rose at the end of the first act as Oswaldo, played meticulously by Victor Almanzar, goes off his sobriety and gets violent.  I took a minute to reflect during the intermission and realized that I was deeply involved in the world of this play.  It was real and topical.  Each point of view of the conflict was expressed so clearly that I was able to see the push and pull within each of the characters as their struggle and debate kept the action of the play moving forward.  In the second act a new character was introduced that turned the plot around, caused the conflict to explode, then calm, then pounce voraciously.

The blurb I had read for months about this play says, “City Hall is demanding more than his signature, the landlord wants him out… the struggle to hold on to one of the last great rent stabilized apartments on Riverside Drive collides with old wounds…”  This made me think the play was about the gentrification of New York City.  It is not about that at all.  It is about integrity and pride, healing and second chances.  It is not about the apartment.  Playwright Stephen Adly Guirgis (well known for his play The Motherf**ker with the Hat) skillfully crafted an edgy world full of grit and warmth.  Director Austin Pendleton peeled away every layer of that world with actors who delved into themselves and connected to one another with an amazing depth of reality and truth.

This is an important play... a must see!  Three cheers to Second Stage Theatre for mounting The Atlantic Theater Company’s production and keeping it alive.  

Domenick Danza