Showing posts with label Rebecca Taichman. Show all posts
Showing posts with label Rebecca Taichman. Show all posts

Monday, November 28, 2022

Becky Nurse of Salem

 Becky Nurse of Salem
Lincoln Center Theater
The Mitzi E. Newhouse
November 26, 2022 

Photo courtesy of Lincoln Center Theater

Dispelling myths.  Facing truths.  Releasing the past.  Accepting the present.  Sara Ruhl’s Becky Nurse of Salem does all of this, and more.  It is an emotionally engaging play that makes you look into yourself and recognize the cycle of accusation and victimization that keeps so many of us down.  The ending has an empowering effect.  Director Rebecca Taichman guided this phenomenal cast to discover truthful characters and create genuine moments while encompassing the wide range of topics Ms. Ruhl addresses in this play.

Becky (played by Deirdre O’Connell) is a tour guide at the Salem Witch Museum.  She is the very great granddaughter of Rebecca Nurse, the true character from Arthur Miller’s play The Crucible, who was hanged as a witch in 1692.  Becky is fired from her job for speaking honestly to a group of museum visitors and then mouthing off to her supervisor.  She looks for a job at the Marriot, where she meets Stan (played by Julian Sanchez).  He recommends that she see a witch to help her find a new job, as he did.  The witch (played by Candy Buckley) can see that Becky tragically lost her daughter and is struggling to care for her teenage granddaughter, Gail (played by Alicia Crowder), who suffers from depression.  When the witch tells Becky it will cost her $400 to release her from the curse she carries from her ancestors, Becky turns to her old friend Bob (played by Bernard White) for a loan.  The witch also throws in a love potion for Becky to attract Bob into a romantic relationship.  Things get out of hand very quickly as Becky gets caught up in a cycle of self-destruction, and is arrested for breaking and entering.  While in jail, she is forced to do without her pain killers, which she is addicted to.  During her withdrawal, she faces the haunting of her past.  She is able to release the pain of losing her daughter and move forward with a stronger sense of acceptance. 

Deirdre O'Connell as Becky Nurse
Photo courtesy of Lincoln Center Theater

From the minute the lights come up for her opening monologue, Deirdre O’Connell grabs the audience’s attention and does not let it go for a second.  Her character holds nothing back.  She is gruff, straight forward, and brutally honest.  She tells it like it is, which is why the character of Bob is attracted to her.  Bernard White (as Bob) and Ms. O’Connell have a strong connection.  The backstory of these characters is alive in every scenes they share.  Their attraction is strong and visceral.  These two actors allow their characters to grow and change through their interactions, keeping the story richly engaging.

Candy Buckley is mysterious and funny as the witch.  Ms. Ruhl has sharply written this character to include a shrewd balance of truthful insight and selfish chicanery.  Julian Sanchez and Alicia Crowder are solid as Stan and Gail.  The focus goes to both of these actors during their scenes, which is important since their characters play vital roles in the objectives and actions of the main character (Becky).

Deirdre O'Connell & Candy Buckley
Photo courtesy of Lincoln Center Theater

Ms. Ruhl tackles a heavy load in this play.  She challenges Arthur Miller’s chronicling of the Salem witch trials in The Crucible.  She magnifies the objectification of the women in history who were falsely accused and murdered.  She points a finger at the causes of addiction, taking the pressure off the user so they can focus on healing.  She gives voice to the accused, not as a defense, but as a request to be seen.  The emotional impact of the final moment of the play is clear evidence of Ms. Ruhl’s success in the taking on of these heavy challenges.  This is an important play for the healing of our present situation, just as The Crucible was when it was written in 1953.

Rebecca Nurse of Salem is playing at Lincoln Center’s Mitzi Newhouse.  Don’t miss it!  

Domenick Danza

Monday, May 25, 2020

From Last Row of the Orchestra at the Cort Theatre


From Last Row of the Orchestra at the Cort Theatre 
(The Night I Saw Paula Vogel’s Indecent

The Cort Theatre / 138 W. 48 St., NYC
Photo courtesy of The Cort Tehatre
The Producers, the Mel Brooks original movie, was on channel 13 about a week ago.  I tuned in just in time to see Zero Mostel and Gene Wilder watching Springtime for Hitler from behind the last row of the orchestra at the Cort Theatre.  I started thinking of all the shows I saw there.  The list grew rather lengthy.  It included Grace, Stick Fly, Breakfast at Tiffany’s, This is Our Youth, M. Butterfly (December 17, 2017 posting on this blog), Glenda Jackson in King Lear (April 23, 2019 posting on this blog), and Linda Lavin in The Lyons.  My memory of shows there goes all the way back to Cherry Jones and Frances Sternhagen in The Heiress.  The one night that stands out in my memory of shows I experienced in that hallowed hall is when I saw the production of Indecent (April 30, 2017 posting on this blog).  It was stunning.  I sat in the last row of the orchestra, house right, third seat from the side aisle.  That seat is not the most comfortable and does not offer the best view of the stage.  If you ever sat in the last row of the orchestra at the Cort Theatre, you probably know what I’m talking about.  I felt like I needed a booster seat, and the overhang from the mezzanine seems really low.  Since I usually get my tickets on TDF, I often sit in last row.  I am very grateful for that discount, which affords me to see as much theatre as I do (or did).  I remember occupying that very same seat at the Cort Theatre a few times.  Once the show starts and I engage, I usually surrender to the elements and connect with the performance.  However, when I saw Indecent, there was another challenge I faced from the last row. 

Photo courtesy of Indecent
The night I saw Indecent, the couple in front of me was on a date.  Not necessarily a first date, but definitely an early in their relationship date.  As soon as the show started, the man put his arm around the woman’s shoulder, sat close to her, and leaned his head against hers, blocking my already slumped view, claustrophobic from the mezzanine overhang.  I am not the type of person to tap a stranger in front of me on the shoulder and disturb their theatre experience.  I am, however, the type of person who writes about it on their theatre blog sometime in the future (meaning now).  I doubt they will be reading this, and if they do, won’t recognize themselves.  In my vengeful imagination, they broke up after the show.  I spent the evening shifting my focus from over their joined heads, to the right side of their joined head, then the left, and sometimes, when the stage positioning allowed, to the small open space under their lightly touching ears.  Remember, I was already slumped down.  The total effect of the powerful images by director Rebecca Taichman was enthralling.  Paula Vogel’s sweeping dialogue was encompassing.  The production left a very strong impression on me, no matter how hard I had to work to be emotionally engaging because of the challenges.  My blog post here on April 30, 2017 focused on that, and did not reflect my discomfort. 

My reading list of plays during this coronavirus lockdown seems to get longer every week.   Reading the works of one master playwright seems to open up inquiry into another.  My list originally included a number of plays written by Donald Margulies, including his version of The God of Vengeance.  I found his adaptation of Sholem Asch’s original play, which is the inspiration for the story of Indecent, to be powerful and intriguing.  Since Paula Vogel’s play does not re-tell the story of The God of Vengeance, I decided to read her play with my newfound understanding of the full story.  I thought it would be interesting to see if my reaction would be different, and I figured reading the play would also fill in any gaps I might have missed while dodging the couple’s heads in front of me. 

The Broadway production of Indecent at the Cort Theatre
Photo courtesy of Indecent
A close read of a play always gives me a strong appreciation for the intention of playwriting, and my read of Indecent was no exception.  Paula Vogel crafted a strong work that is a testament to what she states in the introduction to the published play.  “There are storied collaborations in the American Theater, writer/director collaborations that over years result in plays that remain vivid on the page.”  Indecent is definitely one of those plays.  Her scenes develop with a fierce focus on the desires of the characters.  The overarching action evolves out of these moments.  The characters are driven by their deep need to communicate the truths of their experiences.  This comes strongly into conflict with the norms of the society in which they long to assimilate.  In all her plays Paula Vogel takes her audience on a journey that exceeds any expectation.  Her collaboration with director Rebecca Taichman on Indecent supersedes the high bar she sets for herself and her audience in any of her previous work. 

Zero Mostel & Gene Wilder behind the last row
of the orchestra at the Cort Tehatre
Photo courtesy of The Producers
Toward the end of Indecent, one of the characters makes a powerful statement about the theatre experience.  “…the play belongs to the people who labor in it!  And the audience who put aside the time to be there in person!”  This line rings with extra veracity in this time of the pandemic shutdowns.  I look very much forward to the return of live theatre so I can belong in that way again.  I would be willing to pay three times the ticket price for that seat in the last row of the Cort Theatre, house right, third seat from the side aisle, slumped down and claustrophobic from the mezzanine overhang.  I’d even pay that price to stand where Zero Mostel and Gene Wilder stood just to engage in a live theatre experience.  It is worth any effort it takes to commune with an audience, even dodging head of a couple seated in front of me.  I look forward to that return.  I look forward to seeing you there!

Domenick Danza

Monday, November 5, 2018

School Girls; or, The African Mean Girl Play


School Girls;
or, The African Mean Girl Play
MCC Theater
Lucille Lortel Theatre
November 4, 2018

Photo courtesy of MCC THeater
Jealousy, vicious competitiveness, and petty territorialism seem to be world-wide values, or so one can conclude after watching MCC Theater’s production of School Gris; or, The African Mean Girl Play.  Playwright Jocelyn Bioh tells the story of a tight-knit group of high school girls attending a boarding school in central Ghana.  When a new girl is admitted into the school at the start of their senior year, the balance of power is thrown into a tailspin.  Rebecca Taichman directed this amazing group of actors, creating strong bonds in a well-timed, fast-paced, high stakes atmosphere.

Paulina (played by Maameyaa Boafo) is the leader of her small group of friends at Aburi Girls Boarding School.  The year is 1986, and they are all excited for the arrival of the recruiter for the Miss Ghana Pageant.  Paulina’s loyal followers tell her she is sure to be chosen, until Ericka (played by Joanna A. Jones) arrives.  She is a transfer student from the United States.  Her father is one of the richest men in Ghana.  Immediately, Paulina feels threatened and forces Nana (played by Abena Mensah-Bonsu) to steal Ericka’s file from the Headmistress’ office to gather the details she needs to ruin her.  All hell breaks loose when the recruiter arrives.  Tempers are lost, and deals are made, leaving the girls to wonder if it was all worth the trouble in the end.

Joanna A. Jones & Maameyaa Boafo
Photo courtesy of MCC Theater
Maameyaa Boafo portrays Paulina with forceful swagger and sass, masking insurmountable insecurity.  When her truth is revealed, you cannot help but feel for her, even though she exhibited cruel and heartless behavior toward her friends.  Joanna A. Jones is sweet, kind, and likeable as Ericka.  Her generous spirit hides her secrets, yet her actions in the end reveal her true self.

Abena Mensah-Bonsu, Mirirai Sithole, & Page Guilbert
Photo courtesy of MCC Theater
The ensemble cast has an amazing chemistry. The school girl characters created by Latoya Edwards (Anne), Paige Gilbert (Gifty), Abena Mensah-Bonsu (Nana), and Mirirai Sithole (Mercy) are distinct, sincere, relatable, and each flawed in their own way.  Myra Lucretia Taylor is loving and firm as Headmistress Frances.  She is duly matched by Zenzi Williams as Eloise Amponsah, the Miss Ghana Pageant recruiter, who puts everyone’s integrity to the test.

MCC Theater remounted this production due to its tremendous success last season.  There is still time to see it.  School Girls; or, The African Mean Girls Play is playing at the Lucille Lortel theatre through December 9.

Domenick Danza

Monday, April 2, 2018

This Flat Earth


This Flat Earth
Playwrights Horizons
April 1, 2018

Photo courtesy of Playwrights Horizons
Lindsey Ferrantino’s This Flat Earth is a powerful, emotional, and timely look at the effect of gun violence and school shootings on adolescents.  The Playwrights Horizons production is stunning.  Director Rebecca Taichman rhythmically builds the action of the scenes to gradually peel back the truths and realities of the characters.  Her cast is magnificent, each finding the heart in the words of these well written characters.  The two level set by Dane Laffrey is slick and clean, keeping the transitions smooth and concise.

Ian Saint-Germain & Ella Kennedy Davis
Photo courtesy of Playwrights Horizons
Julie (played by Ella Kennedy Davis) and Zander (played by Ian Saint-Germain) are preparing to return to school after a shooting took the lives of some of their classmates.  Her father, Dan (played by Lucas Papaelias), helps Lisa (played by Cassie Beck) distribute the popcorn her daughter sold for a fundraiser for the school orchestra.  Lisa’s daughter, who played the cello, was killed in the school shooting.  When Julie and Zander see her, they are unable to look her in the eye.  Julie exhibits other signs of trauma, such as quick responses to loud noises and an emotional response to the sound of her upstairs neighbor, Cloris (played by Lynda Gravatt), playing recordings of cello music.  When Julie is forced to transfer schools, she confronts her trauma by asking simple and direct questions.  She gets answers to most of them, yet one remains unanswered and unresolved.

Lynda Gravatt, Lucas Papaelias, & Ella Kennedy Davis
Photo courtesy of Playwrights Horizons
The actors in this cast create vulnerable characters and honest relationships that are engaging on a deep emotional level.  Ella Kennedy Davis has the perfect balance of spunk and naiveté as Julie.  Ian Saint-Germain is open and sincere as Zander.  Their connection is genuine and delicate.  Lucas Papaelias portrays Dan as a concerned and caring father, focused on providing his daughter with the best structured environment he can.  His intentions are sincere and his shortcomings are real.  Cassie Beck’s Lisa is in the middle of an emotional breakdown due to the unfathomable and violent loss of her daughter.  She creates a true sense of empathy with the audience.  Lynda Gravatt’s portrayal of Cloris, the curmudgeony upstairs neighbor, is strong and grounded.  Her timing and interpretation of the play’s closing monologue is direct, poignant, and perfectly delivered.  Live music performed by cellist Christina H. Kim graciously enhances the production since, as the Cloris explains, the cello expresses the full range of human voice and emotion.  

Given recent events in Florida and the student protests across the country, the timing and relevance of this production is uncanny.  The glimpse into the thoughts of the two teenagers (Julie and Zander) and the pain of the victim’s mother (Lisa) offers a very personal insight that we do not see on news coverage of such events.  This play stops the noise of the protests and political rhetoric and allows us to grasp the emotional distress that comes from direct involvement with violent incidents.  Along with the characters, you question the reasons for their occurrence and understand the strength it takes to move past them.    

Playwright Lindsey Ferrantino
Photo courtesy of Playwrights Horizons
Lindsey Ferrantino has written a masterpiece, reflecting the vulnerability of human experience told through truthful relationships.  The only other play I have seen this season that achieves this with skill and grace is Amy and the Orphans, also written by Ms. Ferrantino.  She is a playwright to keep an eye on.  Her voice is honest, tender, and potent. 

This Flat Earth is playing at Playwrights Horizons through April 29.  You MUST see this play.  Get your tickets today! 
Domenick Danza



Sunday, October 1, 2017

Time and the Conways

Time and the Conways
Roundabout Theatre Company
American Airlines Theatre
September 30, 2017
 
Photo courtesy of Roundabout Theatre Company
The Roundabout Theatre Company production of Time and the Conways poignantly gives pause to contemplate the concept of time.  Director Rebecca Taichman masterfully creates distinctive atmospheres in the three scenes of the play by varying the tone and pace.  She pulls the closing of each act to a poetic and sentimental ending.  The cast fluently evokes the time period and setting.  The design of the production (sets: Neil Patel; costumes: Paloma Young; lighting: Christopher Akerlind; sound: Matt Hubbs; hair & wig: Leah J. Loukas) transports the audience to a realistic location, then swiftly moves through time and space, creating the illusion of infinite dimension.

The year is 1919 and World War I has just ended.  The Conway family of Great Britain is celebrating the twenty-first birthday of Kay (played by Charlotte Parry).  The family matriarch (played by Elizabeth McGovern) is excited because her son Robin (played by Matthew James Thomas) has just returned from the air force.  Everyone is overly cheerful and highly optimistic.  In the next moment it is 1937.  The family fortune is diminished and everyone seems jaded and worn down my time… or is time an illusion?

The cast of Time and the Conways
Photos courtesy of Roundabout Theatre Company
Elizabeth McGovern is stately as Mrs. Conway, layering heart, warmth, and humor into genuine moments.  Charlotte Parry creates the lense from which the audience views and relates to the action.  The insight of her character is truthful and her distress is heartfelt.  Gabriel Ebert portrays Alan Conway with an open sense of honesty and acceptance.  Steven Boyer is cunning and sharp as Earnest Beevers.  His character unwraps to reveal a cruel and consuming dark side that jolts the family’s sense of unity.  Anna Baryshnikov is effervescent as Carol Conway.  Brook Bloom and Anna Camp show a strong and intriguing range in the maturing of the characters of Madge and Hazel.

Elizabeth McGovern
Photo courtesy of Roundabout Theatre Company
In Act I the over the top optimism of the first scene is powerfully juxtaposed by the transparent harshness of the second.  Rebecca Taichman brilliantly changes the tone again in Act II as the characters are developed from a more realistic point of view.  This variation magnifies the theme of playwright J.B. Priestley by giving the audience a visceral understanding of how the dimension of time can overlap and recount an altered point of view.

Time and the Conways is running at the American Airlines Theatre through November 26.  It is a poignant period piece with a valuable message.  The performances are strong.  The production is poetic. 


Domenick Danza

Sunday, April 30, 2017

Indecent

Indecent
Cort Theater
April 28, 2017

Photo courtesy of Indecent
In Indecent collaborators Paula Vogel and Rebecca Taichman explore the power of the creative voice to change lives.  It tells the story of The God of Vengeance, a Yiddish play written by Sholem Asch in 1907.  The play traveled to major cities in Europe and then came to the United States.  New York was the only city where the play was censored.  It opened on Broadway in 1923.  The production was shut down due to its offensive subject matter.  Indecent is a tender, passionate, revealing, and inspirational telling of the journey of that production and the people involved.

Sholem Asch’s wife is most excited about her husband’s provocative new play The God of Vengeance.  She is particularly enthusiastic about the superbly written love scene between two female characters.  When Asch reads the play with the leaders of the Polish Yiddish theatre, they are appalled.  In their mind, not only is the lesbian scene highly inappropriate, but the fact that the main character, a Jewish family man, runs a brothel and disrespects the Torah is blasphemous.  Only one man in attendance, Lemml, finds the play life-affirming.  Together Asch and Lemml take the play to Berlin, where it is highly received.  Lemml stage manages successful productions of The God of Vengeance across Europe and then to New York City, where the lives of everyone involved change forever.

Photo courtesy of Indecent
The choice by playwright Paula Vogel to tell the story through the eyes of the stage manager is brilliant.  This character has the objective reminiscence of events as well as a deep personal connection to the progression of the story.  Richard Topol portrays Lemml, the Stage Manager, with multiple layers.  He grows with the advancement and acceptance of the production of The God of Vengeance, and never lets go of his belief in its value.

Photo courtesy of Indecent
The cast is an amazing ensemble.  They all play numerous roles, at times transforming in a moment in front of our eyes.  Some of Paula Vogel’s scenes are written in both English and Yiddish.  The brilliance of the collaboration between her and Director Rebecca Taichman is how the scenes shift from one language to the other.  The characters go from speaking fluent English to struggling with their words as non-English speaking Polish immigrants.  This illustrates the challenge the characters face when they arrive in the United States.  Their desire to succeed in a country where they cannot easily communicate is not hindered by this obstacle.  When their production moves to Broadway, the cast is arrested and the show is shut down, even after the lesbian scene is cut out of the play.  The disclosure of the specific indecency in the theme of the production is thought provoking and relevant to our present day moral identity.

Photo courtesy of Indecent
What remains beyond success and failure?  What lives on after a work of art is viewed, experienced, and then discarded.  This is what Indecent asks us to think about.  The creative impulse that motivates art to reflect the truth is what keeps the action of this play moving forward and the audience completely engaged.  Go see it.


Domenick Danza

Sunday, April 16, 2017

How to Transcend a Happy Marriage

How to Transcend a Happy Marriage
The Mitzi E. Newhouse Theater
April 15, 2017

Photo courtesy of Lincoln Center Theater
Transcend: to go beyond the limits of all possible experience and knowledge; being beyond comprehension.

In How to Transcend a Happy Marriage playwright Sarah Ruhl explores what lies beyond the boundaries of societal definitions of relationship, marriage, and family to find a quality of love, acceptance, and happiness that is greater than the expected.  Through magical realism, she skillfully transports the audience into the experiences of the characters and induces an intense level of reflection on their journey.

Jane (played by Robin Weigert) tells her husband, Michael (played by Brian Hutchison), and her best friends George and Paul (played by Marisa Tomei and Omar Metwally) about Pip, a temp at her office who hunts and slaughters her own food and is living with two men in a polyamorous relationship.  The curiosity of the two couples is aroused, so they decide to invite Pip (played by Lena Hall) and her two male companions (played by David McElwee and Austin Smith) to a dinner party on New Year’s Eve.  This encounter sets these two happily married couples on a journey of no return.

Photo courtesy of Lincoln Center Theater
In Act I you get a visceral sense of the characters’ discomfort with themselves when the movement, costumes, and dialogue seem stiff and choppy.  This sense is heightened when juxtaposed against the flow, smoothness, and ease of their invited guests.  Act II delves deeply into the psyche of George (Marissa Tomei’s character) as she struggles to transcend the defined boundaries she has accepted for herself.  The bond Ms. Tomei creates with her fellow actors (Robin Weigert, Brian Hutchison, and Omar Metwally) is strong and genuine.  They all resist and grapple with the truth as they allow their characters to look at their lives from a new perspective.  Ms. Ruhl finds the poetry and music in these characters tumultuous experiences that brings intellectual and emotional understanding of their growth and change.

Marissa Tomei & Lena Hall
Photo courtesy of Lincoln Center Theater
The parallels between the character of Pip and Roman mythology’s Diana, goddess of the hunt, moon, and birthing, and associated with wild animals and woodland, is superbly constructed.  The triad Diana made between the water nymph Egeria, and the woodland god Virbius is reflected in Pip’s polyamorous relationship.  Through these mythical images and the psychological and carnal impulses they arouse, the characters unearth deep-seeded realizations about the lives they have settled into.  In an emotional moment at the end of Act II, Jane blurts out that in order to bring children into the world you have to release your inner animal, and you then spend the rest of your life hiding that animal side from them.  This is one of the many profound insights the characters are propelled to face.

If you are a fan of Sarah Ruhl’s work, you will definitely find this play worth seeing.  The cast is excellent, the directing (by Rebecca Taichman) is unified, and the writing is authentic.  How to Transcend a Happy Marriage is playing at Lincoln Center’s Mitzi E. Newhouse Theater through May 7.


Domenick Danza