The Sign in Sidney Brustein’s Window

 The Sign in Sidney Brustein’s Window
Brooklyn Academy of Music
Harvey Theater
February 12, 2023 

Photo courtesy of 
The Sign in Sidney Brustein's Window at BAM

Oscar Isaac and Rachel Brosnahan are wonderful together in The Sign in Sidney Brustein’s Window, now playing at Brooklyn Academy of Music’s Harvey Theater.  This lesser known Lorraine Hansberry play is full of fire and conflict.  Director Anne Kauffman keeps the action moving at a brisk pace, which is important with the three hour running time.  The characters are diverse and equally developed, offering divergent points of view on social and political issues.  The story takes place in 1964 Greenwich Village.  

Sidney (played by Oscar Isaac) just closed down his night club and bought a newspaper.  His wife, Iris (played by Rachel Brosnahan), has not been told of his recent project.  She is a waitress/actress/dancer trying to find her way as a theatre artist, while balancing her husband’s many business ventures.  Sidney’s friend, Wally O’Hara (played by Andy Grotelueschen) is running for office and wants Sidney’s newspaper to endorse him.  Sidney wants his paper to stay focused on the arts, and not become a political tool.  Once Wally hangs his political sign in Sidney’s window, there is no going back. 

Photo courtesy of
The Sign in Sidney Brustein's Window
 at BAM

In the meantime, Sidney’s friend, Alton (played by Julian DeNiro), has asked Iris’s sister, Gloria (played by Gus Birney) to marry him.  She is holding off on accepting his proposal while she is in Florida.  Alton does not know that Gloria is a call girl.  Iris’ other sister, Mavis (played by Miriam Silverman) is constantly trying to get Iris to dress and act more conservatively, while not holding back on her antisemitic and racist comments.  Sidney and Iris’ upstairs neighbor, David (played by Glenn Fitzgerald) is a gay, struggling playwright.  Among all this controversy and strong opinion, Iris admits to Sidney that their marriage is weakening. 

In Act II, the characters reveal and face their truths, which leads them all down a dark path.  Sidney finds out that the political endorsement he committed his newspaper to was all based on lies.  When personal tragedy strikes Iris and her sisters, it’s time for Sidney to let go of the distraction and be there for Iris.

Ms. Hansberry created a vibrant community of truthful characters in this play.  They are each dedicated to their beliefs, and passionately voice their opinions.  This creates innate conflict and keeps the dramatic action alive throughout the piece.  There is a intensity between Sidney and Iris that Oscar Isaac and Rachel Brosnahan play brilliantly.  Their quarrels build into moments of fervent affection.  The love between these two characters is deeply rooted.  Mr. Isaac and Ms. Brosnahan create a genuine connection that fully engages the audience all the way through to the conclusion of the story.

Playwright Lorraine Hansberry
Photo courtesy of Lorraine Hansberry Estate

Ms. Hansberry does not take a political stance in this piece.  Instead she presents the events and their effect on the characters, both socially and personally.  This gives the audience the opportunity to share the experience and draw their own conclusion.  The parallels from these events in 1964 to the social/pollical/personal challenges we face in our present time are astounding.  The play rings with relevance and clarity.

There are strong performance from every member of this cast.  The Act II monologues by Julian DeNiro (Alton) and Miriam Silverman (Mavis) are outstanding.  

The Sign in Sidney Burstein’s Window is playing at BAM’s Harvey Theater through March 24.  It is a powerful piece of theatre, masterfully directed and skillfully performed.

Domenick Danza

I’m Revolting

 I’m Revolting
Atlantic Theater Company
Linda Gross Theater
September 10, 2022 

Photo courtesy of Atlantic Theater Company

Gracie Gardner’s play, I’m Revolting, is a complex piece of theatre.  It takes place in the waiting room of a skin cancer treatment hospital over the course of one day.  It engages the audience with different points of view through the various character arcs.  Each story line delves into the character’s beliefs and fears.  The full story lands in a place of truth that brings revelation to the experience of the characters.  Director Knud Adams skillfully unites these various story threads by giving each member of this cast the time and space to delve into the needs of their individual character.

Photo courtesy of Atlantic Theater Company

Jonathan (played by Bartley Booz) is reviewing the patient list for the coming day with his colleague and mentor, Denise (played by Portia).  Reggie (played by Alicia Pilgrim) enters.  She is scheduled to have a fairly large carcinoma removed from her nose.  She is scared.  Denise tries to calm her by reviewing the procedure.  Reggie’s sister, Anna (played by Gabby Beans), finally arrives to keep her company, but manages to increase her anxiety level.  Liane (played by Emily Cass McDonnell) shows up with her husband Jordan (played by Glenn Fitzgerald).  She has a large tumor around her eye.  She need support, but her husband is emotionally disengaged.  When Clyde (played by Peter Gerety) arrives, he chats with Reggie, sharing his numerous experiences with the doctors at this hospital and boasting of how he values their expertise.  Toby (played by Patrick Vaill), who has been sleeping in his chair most of the time, is joined by his mother, Paula (played by Laura Easterman).  She loudly talks of self-healing, which pushes a button for the other patients. 

Each character faces their fears and darker self as they wait for the results of their procedure.  Some take it lightly.  Some will carry scars deeper than the ones left from the surgery.  Others might not survive at all. 

The anxieties felt and shared by this cast are genuine.  Reggie chooses to fight.  Alicia Pilgrim plays this character honorably.  Clyde is full of acceptance.  Peter Gerety is bold and brave in the conviction of his character.  Toby is truly scared.  Patrick Vaill portrays the character’s escape through numerous, carefully played tactics.  Paula is broken by her outcome.  Laura Easterman unapologetically shows the character’s willingness to voice her need and accept help. 

The final scene between Denise and Jonathan gives insight to the dedication required to treat patients at their most vulnerable moments.  Portia and Bartley Booz clearly illustrate the seriousness of their characters’ work.  Mistakes can be life threatening.  It is a stunning ending. 

I’m Revolting is playing at Atlantic Theater Company’s Linda Gross Theater through October 16.  It is a thought provoking, wonderfully conceived production.  The cast is excellent. 

Domenick Danza

Ripcord

Ripcord

Manhattan Theatre Club

New York City Center Stage I

October 3, 2015

Photo courtesy of
Manhattan Theatre Club

Ripcord, a new comedy written by David Lindsay-Abaire, is now playing at Manhattan Theatre Club’s New York City Center Stage I.  The production is witty and charming.  The script is lighthearted, touching, frivolous, and sincere.  The cast is crisp and the directing is clean. 

Abby (played by Holland Taylor) has a new roommate at the Bristol Place Assisted Living Facility.  She is energetic, cheery, and optimistic, and Abby wants her out.  Marilyn (played by Marylouise Burke), the new roommate, is comfortable with Abby’s company and happy with the bright sunlight in her new room.  She has no intention of leaving.  They make a bet.  If Abby can make Marilyn angry, she gets the room to herself.  If Marilyn can break Abby’s hard outer shell and scare her, she gets the bed closer to the window.  Both women are stubbornly determined and ruthlessly pull out all stops to win. 

David Hyde Pierce, Holland Taylor, Marylouise Burke,
and David Lindsay-Abaire
Photo courtesy of Manhattan Theatre Club

Holland Taylor and Marylouise Burke are well matched.  Their chemistry and timing are perfect.  This is not a surprise since the play is directed by David Hyde Pierce.  Amid the comedic antics, both characters experience sincere moments of emotion that offer glimpses into the deeper truths of their characters.  David Lindsay-Abaire skillfully develops these details in the later part of the play.  This is what makes this lighthearted comedy a rarity.  The kookiness, absurdity, and bitchiness in the writing are superseded by the warmth and emotional healing that only comes from true human contact.

Cast members Rachel Dratch, Glenn Fitzgerald, Daoud Heidami, and Nate Miller are honest and funny.  Their performances heighten the impact of the play’s themes and comic timing.  The set, designed by Alexander Dodge, is full of surprises with quick changes that open the space in ways you do not expect.  The lighting, by Peter Kaczorowsky, effectively shifts the focus and mood of each scene.

Ripcord is a truly enjoyable evening at the theatre.  David Lindsay-Abaire succeeds at making us laugh at the challenging behavior of the two main characters and see ourselves in their fear, frailty, and humanity.

Domenick Danza