The Who’s Tommy

 The Who’s Tommy
Nederlander Theater
July 3, 2024 

Photo courtesy of The Who's Tommy

The Broadway revival of The Who’s Tommy is spectacular.  Director Des McAnuff, who directed the original production in 1993, brings it back with an outstanding cast.  Pete Townshend’s music is as fresh and exciting as it was on the day it was first released.  Choreography by Lorin Latarro is bold and exciting.

Tommy (played by Ali Louis Bourzgui, Cecilia Ann Popp at age 4, and Quinten Kusheba at age 10) witnesses his father, Captain Walker (played by understudy Mike Cannon), murder his mother’s boyfriend (played by Nathan Lucrezio).  Out of panic, Tommy’s mother (played by Alison Luff) tells him he did not see anything, did not hear anything, and will not say anything.  This sends Tommy into trauma.  He can no longer see, hear, or speak, and spends most of his time staring into a mirror.  Tommy is abused by his Uncle Ernie (played by John Ambrosino), and ridiculed by his Cousin Kevin (played by Bobby Conte).  While at the Youth Center, Tommy is left alone at a pinball machine and starts to play.  He beats all scores, and creates a sensation.  His parents continue to look for a cure for his situation.  They finally decide to send him to a sanitarium.  Out of frustration, his mother smashes the mirror that Tommy stares into, breaking his traumatic spell.  It is hailed a miracle cure, and Tommy becomes a cult phenomenon.  When his celebrity becomes too much for him, Tommy returns home to reconnect with his family and himself. 

Ali Louis Bourzgui as Tommy
Photo courtesy of The Who's Tommy

During Act I, when Cecilia Ann Popp and Quinten Kusheba play the younger versions of Tommy, Ali Louis Bourzgui appears as the voice in his head, the person trapped inside the young boy.  Mr. Bourzgui’s voice and physicality have a mysterious quality that makes these scenes highly effective.  The three actors combine to present a complete understanding of the psychological components that make up of the full character.  Mr. Bourzgui propels the action forward in Act II, then is reunited with his younger self for an emotionally satisfying ending.

"Pinball Wizard"
Photo courtesy of The Who's Tommy

Alissa Luff and Mike Cannon are excellent as Mrs. Walker and Captain Walker.  They have a solid chemistry that bonds them in the first act and causes conflict in the second.  John Ambrosino plays creepy Uncle Ernie with conviction.  His presence is always felt, and his motives are consistently questionable.  Bobby Conte’s Cousin Kevin is bold and energetic.  The character shifts from Tommy’s tormenter to his most ardent supporter, yet his cunning ability to take advantage of Tommy is evident throughout.

The Who’s Tommy is playing at the Nederlander Theatre through July 21.  See it before it closes! 

Domenick Danza

Much Ado About Nothing

 Much Ado About Nothing
Gene Frankel Theater
June 29, 2024 

Photo courtesy of Kelsey Grammer
& Faith American Brewing Co.

The Kelsey Grammer & Faith American Brewing Company production of Much Ado About Nothing is passionate, witty, and colorful.  Director Thomas G. Waites gathered students from the TGW acting studio to perform this two hour version of Shakespeare’s well-known comedy.  There are two casts performing on alternate dates.  They are all skillful, committed performers who create truthful and complex characters scheming, obstructing, and finally finding love. 

Beatrice (played by Kaitlyn Mitchell) and Hero (played by Jordan Elizabeth Gelber) are waiting for the return of the soldiers.  Hero’s father, Leonato (played by David Manganiello) welcomes the men upon their return.  Don Pedro (played by Jacque Coqueran) is reunited with Hero, yet Claudio (played by Dillon John Collins) professes his love for her.  Don Pedro tells Claudio he will pretend to be him during the upcoming masked party to woo her in his name, then confess the plan to Leonato in order for Claudio to get Hero’s hand.  The plan is successful, yet Don Pedro’s brother, Don John (played by Surge), conspires with Borachio (played by Matt “Ugly” McGlade) and Conrad (played by Brandon Lima) to break them up.

Kaitlyn Mitchell & Jakob Minevich
Photo by Rob Klein, courtesy of Kelsey Grammer 
& Faith American Brewing Co.

Meanwhile, Don Pedro comes up with a plan to get Beatrice and Benedick (played by Jakob Minevich) together.  He sees their heated discussions as evidence of true love.  He involves Claudio and Leonato in his plan.  He also convinces Hero, Ursula (played by Matt “Ugly McGlade), and Margaret (played by Brandon Lima) to gossip about Benedick’s affections for Beatrice to overhear.  Don Pedro’s plan to break up Claudio and Hero comes to fruition at their wedding, which unites Benedict and Beatrice to take retribution.

The chemistry between Jakob Minevich’s Benedick and Kaitlyn Mitchell’s Beatrice is palpable from the first moment they meet, and carries through to the end of the play.  Ms. Mitchell is captivating.  When she delivers Beatrice’s “Oh, that I were a man…” speech, convincing Benedict to kill Claudio, Benedick is putty in her hands.  Mr. Minevich plays Benedick with a suave, gritty strength, yet willingly opens his heart to Beatrice.  These moments are genuinely touching, and delivered with a comic flair.  These two actors are evenly matched, creating an authentic connection.  

Matt "Ugly" McGlade, Brandon Lima,
Jordan Elizabeth Gelber, & Kaitlyn Mitchell
Photo by Rob Klein, courtesy of Kelsey Grammer
& Faith American Brewing Co.

Dillon John Collins and Jordan Elizabeth Gelber develop a truthful bond, and create a sincere relationship as Claudio and Hero.  Mr. Collin’s Claudio is determined and sure of himself.  Ms. Gelber’s Hero is honest and virtuous.  Their attraction transcends the plotting and scheming that takes place around them.  There is pure joy when they are finally wed.       

Director Thomas G. Waites makes the most of Shakespeare’s scenes that include three characters.  The initial scene between Claudio, Don Pedro, and Benedick is rhythmic, and delivered with perfect timing.  The scene between Don Pedro, Claudio, and Leonato, where they are plotting to get Beatrice and Benedict together, is endearing and masterfully executed.  The scene between Don John, Borachio, and Conrad, where they are plotting to break up Claudio and Hero, is truly menacing.  Shakespeare brings these characters together in groups of three to conspire on schemes that propel the plot forward.  We see the characters from a focused lens in these scenes.  Their complexities rise to the surface.  Mr. Waites gets the most from his actors in these scenes.  The plot thickens and the audience is fully engaged. 

David Manganiello, Dillon John Collins,
Jordan Allen Bell, & Jakob Minevich
Photo by Rob Klien, courtesy of Kelsey Grammer
& Faith American Brewing Co.

Surge portrays Don Pedro as the villain Shakespeare intended.  He is vile, causing problems for the young lovers that have high stakes consequences.  Jacque Coqueran’s Don Pedro is adventurous and bold.  Matt “Ugly” McGlade is highly versatile, and moves with a confident musicality.  He is fully committed in both characters he portrays.  His Borachio is loathsome and despicable.  His Ursula is brash and over the top. The scene where we first meet Dogberry (played by Arnie Mazer), Verges (played by John Galligan), and Seacole  (played by Jordan Allen Bell) is highly comic.  These three characters are immediately established, and their subsequent scenes exceed the initial expectation.  

Composer Cedric Allen Hill is at the keyboard throughout the show, providing background music that enhances the action.  The emotion of each scene deepens due to this inspired music.  He also beautifully composed music for Shakespeare’s verse in two different scenes, and plays the role of Balthasar with ease and confidence.  

Much Ado About Nothing has been extended.  The production will be playing at the Gene Frankel Theater (24 Bond St.) through July 7. 

Domenick Danza

Simpatico

 Simpatico
Chain Theatre
June 22, 2024 

Photo courtesy of Chain Theatre

The Chain Theatre production of Sam Shepard’s Simpatico is intriguing.  Mr. Shepard keeps the tension building throughout the play by withholding the details of the backstory.  Director David Zayas Jr. and this amazing cast illuminate every moment of that tension, keeping the audience fully engaged, leaning into the action, and waiting to see what will happen next.  The second act explodes as the action reaches its high point and the power shifts.

Vinnie (played by Brandon Hughes) called his old partner, Carter (played by Kirk Gostkowski) for a favor.  Carter immediately gets on a flight from Kentucky to California to see him.  Carter and Vinnie are indebted to one another, sharing a secret from previous business dealings.  Vinnie needs help because he was arrested for harassment.  He asks Carter to speak with Cecilia (played by Elizabeth Bays), the woman who is pressing charges.  Before he agrees to meet with her, Cater offers Vinnie any amount of money he wants in return for a set of photos and negatives.  Vinnie refuses.  When Carter meets with Cecilia, he finds out that she and Vinnie were dating.  She might have called the cops, but there are no charges pending.  Carter and Cecilia return to Vinnie’s place to find that he left town.  He flew to Kentucky to sell the set of photos and negatives to Simms (played by Pete Mattaliano).  Simms refuses the deal, and immediately calls Carter.  Carter flies into a panic, and convinces Cecilia to help him out with Simms.  While he is in Kentucky, Vinnie pays a surprise visit to Rosie, Carter’s wife (played by Christina Elise Perry).  He gives her the photos and negatives.  They are of her and Simms.  Rosie was the one who planned the blackmail deal fifteen years earlier.  The table have now turned. 

Christina Elise Perry as Rosie
Photo courtesy of Chain Theatre

Christina Elise Perry and Brandon Hughes set Act II on fire as Rosie and Vinnie.  It is visceral.  There is
aggressive passion between them, as the backstory of their characters comes fully to light.  Rosie is fully in control, no matter what tactics Vinnie attempts.  It is a continuous cat and mouse game, and Ms. Perry never lets up. 

Elizabeth Bays has an effective scene with Pete Mattaliano in Act II.  Both their characters (Cecilia and Simms) show their vulnerable sides after doing all they can to make a deal.  There is a genuine connection between them after the two characters come clean with each other. 

Brandon Hughes & Kirk Gostkowski
Photo courtesy of Chain Theatre

In the final scene, Carter is physically ill over the powerless position he finds himself in.  Vinnie shows no mercy.  Kirk Gostkowski plays this scene with unwavering conviction and physical mastery.  Brandon Hughes plays Vinnie’s new status for all it’s worth.

Simpatico is playing at Chain Theatre through June 29. 

Domenick Danza

N/A

 N/A
Lincoln Center Theater
Mitzi E. Newhouse Theater
June 15, 2024 

Photo courtesy of Lincoln Center Theater

The Lincoln Center Theater production of Mario Correa’s N/A brings two powerhouse performers together to portray two powerful political figures.  Holland Taylor plays N (modeled after Nancy Pelosi).  Ana Villafañe plays A (modeled after Alexandria Ocasio-Cortez).  The play is a masterfully written battle of ideas.  It is on-going debates of issues vs. morals, process vs. change, old ways vs. new ideals, all between two very strong opposing forces, who are very much alike.

It is A’s first day as a new member of Congress.  She is summoned to N’s office for an early meeting.  N wants to get to know her, and review a few ground rules.  A wants to dive in and address the important issues.  Right away they are at odds.  This continues as the Democrats gain control of the House, and N needs A’s vote to become Speaker.  A is determined to make change, while N knows that sometimes compromise is the only possible outcome.  After the events of January 6, the women find common ground.  Neither are safe.  When Republicans re-gain control of the House and N steps down as Speaker, she encourages A to run for Whip (the party’s “enforcer”).  A does not see that as part of her plan, yet it is clear she will not give up fighting and that she has N’s respect and support.  

This play is skillfully written.  It directly addresses the big issues (border control, immigration, privilege/racism/sexism, the democratic process).  The characters debate cause, solutions, and time frames.  Playwright Mario Correa chooses not to name any of the political individuals involved.  We all know who they are referring to, as well as who they two actors are portraying.  The omission of names allows the issues and challenges to be the focus, without the emotional response associated with certain individuals.  His choice qualifies this play as an impersonal record of the awareness, growth, and stagnation that took place over the four year time frame of the play (2018-22).  You can compare it to where we are today, and think about what is needed as we move forward.

Holland Taylor & Ana Villafañe
Photo courtesy of Linclon Center Theater

Holland Taylor and Ana Villafañe deliver masterful performances as N and A.  They are equally
matched, and ignite fires in every moment.  Director Diane Paulus beautifully shifts the focus from one character to the other, as each gains or loses status throughout the piece. 

N/A is a special event production, playing at the Mitzi E. Newhouse Theater at Lincoln Center for a limited run.  You have until August 4.  Don’t hesitate.  Get a ticket! 

Domenick Danza

Mary Jane

 Mary Jane
Manhattan Theatre Club
The Samuel J. Friedman Theatre
June 6, 2024 

Photo courtesy of Manhattan Theatre Club

The Manhattan Theatre Club production of Amy Herzog’s Mary Jane is tender, sad, and enthralling.  Ms. Herzog’s writing is skillfully honest.  Her characters are truthful.  The relationships are bold and real.  Director Anne Kauffman finds the even tempo that is appropriate for the telling of this story.  The characters, all women, have an ease about them, which allows the audience to settle in and absorb the action.  Except for Rachel McAdams, all the actors play more than one role, filling the stage with maternal perspectives that illuminate the themes of the play. 

Mary Jane (played by Rachel McAdams) is the single mother of a two year old boy, Alex, who is severely disabled.  He is non-verbal, limited in his physical ability, and requires round the clock care.  We meet one of his more reliable nurses, Sherry (played by Brenda Wehle), who generously offers Mary Jane support and advice that are above her job requirements.  When Alex has a series of seizures, he is taken to the hospital for an extended stay.  Mary Jane does not leave his side, and unfortunately, loses her job.  Her love and dedication are unwavering.  After a number of weeks, Alex undergoes surgery.  It is then we see how Mary Jane’s identity is fully enmeshed in being the mother of this special needs child.

Rachel McAdams as Mary Jane
Photo courtesy of Manhattan Theatre Club

The beauty of Ms. McAdams’ performance is in the unraveling of her character.  In the first few scenes, we see her surface.  She is outgoing, positive, and accepting.  As the action progresses, we see her unsure, waiting.  We sense her isolation.  She is searching, reaching out for connection.  In the final scene and final moment of the play, we see the truth of her character.  It is afterwards that we realize that the optimism portrayed in the opening scenes was a mask.  The choices Ms. McAdams made in those earlier scenes were purposeful and specific.  They were stiff, awkward.  A façade.  The character’s core is revealed in the final scene.  Her guard is down.  She is comfortable facing herself.  Her sadness and anxieties dissipate.  Her revelation in the final moment is enlightening.  This is a well-crafted performance. 

Rachel McAdams & Susan Pourfar
Photo courtesy of Manhattan Theatre Club

One of the most well-written scenes in the play is the one between Mary Jane and Chaya (played by Susan Pourfar), an Orthodox Jewish woman.  They meet in the hospital, and share their feelings about motherhood, faith, and raising a child with severe disabilities.  It is honest and direct.  The characters both have a deep need for connection.  They have no hesitation opening up and trusting one another.  This scene is excellently written, masterfully directed, and genuinely performed. 

Mary Jane has been extended through June 30.  This play gives a visceral understanding of the depth of love inherent in motherhood.  The entire cast (Rachel McAdams, Brenda Wehle, April Matthis, Susan Pourfar, and Lily Santiago) is superb.  

Domenick Danza

The Actors

 The Actors
Theatre Row
May 25, 2024 

Photo courtesy of The Actors

The Actors is an amusing comedy filled with poignant moments that touch the heart.  Playwright Ronnie Larsen sets up a peculiar premise, then skillfully explores every conceivable occurrence, making it fully believable and entertaining.  Director Stuart Meltzer allows the emotional moments of truth to land gently, then bounce back into the rhythmic comic timing.

Ronnie (played by Ronnie Larsen) misses his parents, who died a few years ago.  His desperation motivates him to start a project.  He hires actors to play his mother, Jean (played by Jeni Hacker), and his father, Clarence (played by Allen Lewis Rickman).  The plan is for them to visit Ronnie a few hours a week to improvise scenes from his childhood so he won’t feel so alone.  When the actor playing Clarence is thrown out of his apartment by his jealous girlfriend, he decides to move in with Ronnie, and become his full time Dad.  This motivates the actor playing Jean to recruit her real son (played by Gabriell Salgado) to play Ronnie’s brother Jay.  It’s more than Ronnie bargained for, yet part of him is happy for the company.  When Ronnie’s real brother Jay (played by Jason Guy) shows up unexpectedly, Ronnie is forced to face the truth. 

Gabriell Salgado, Allen Lewis Rickman,
Jeni Hacker, & Ronnie Lrsen
Photo courtesy of The Actors

Ronnie Larsen is truly at home playing the lead character.  The absurdity of his “project” is juxtaposed by the honesty of his grief over the loss of his parents.  He revels in the scenes he enacts with the actors playing his parents, yet he has complete control of the fact that they are totally fake.  It is the actors who get carried away, and Jeni Hacker, Allen Lewis Rickman, and Gabriell Salgado play the over the top situation with honest conviction. 

The Actors played numerous cities around the country, including Provo, Utah, and Miami, Florida.  The Off Broadway production is running at Theatre Row through June 1.  It is funny, touching, cleverly written, and delightfully performed.  Go see it! 

Domenick Danza

What Became of Us

 What Became of Us
Atlantic Stage 2 Theater
May 18, 2024 

Photo courtesy of Atlantic Theater Company

Shayan Lotfi’s play, What Became of Us, takes the audience on an intimate and emotional journey in the relationship between two siblings.  It is masterfully crafted, uniquely structured, and tenderly written.  The Atlantic Theatre Company production is beautifully directed by Jennifer Chang.  She allows the actor to discover precise moments to reveal their vulnerability.  The characters open their hearts to one another and the audience.  They grow and change over a lifetime of shared and distant experiences.

We first meet Q (played by Rosalind Chao), who tells of when her parents made the decision to immigrate from the old county.  She is a young girl, fascinated by the adventure they are about to embark upon.  She easily tells of her parents selling candies and snacks outside office buildings, then opening their own newsstand, then purchasing the corner store.  Her life changes when her brother, Z (played by BD Wong) is born.  She takes responsibility for his care.  He is everything to her, as she is everything to him. 

BD Wong & Rosalind Chao
Photo courtesy of Atlantic Theater Company

Q and Z continue to tell their stories, directly addressing the audience and referring to one another in the second person.  Their identities develop into their adolescent and teen years.  They become more independent of one another, yet are fully aware of each other’s feelings.  Q remains conservative and connected to her parents.  Z becomes rebellious and makes different choices.  When their parents are killed in a car accident, they find themselves full of unresolved emotions, causing resentment.  They separate.  Years go by without contact.  Z gets married and has a son, the “golden child.”  After six years, he asks his father why he has no other family.  This motivates Z to call his sister.  They re-unite with a different sense of themselves, and are able to connect on a new level. 

Rosalind Chao and BD Wong are phenomenal.  They are fully connected, even though all their dialogue is direct address.  This connection is inherent in everything they do and say.  It morphs as the characters grow and change.  These transitions are clearly mapped out in the writing.  During the first portion of the play, the characters start all their lines with “You…” as they tell the story of how and what the other character did, said, and felt.  All of their thoughts are consumed with the other’s point of view.  The second section, when the characters are estranged, their lines all start with “I” statements, as they share their own thoughts, isolated from anyone else.  In the third and final section, their lines start with “I” statements, followed by a sentence starting with “You...”  The characters have come to a place where their mutual feelings and perspectives mold and shape their experiences.  It doesn’t matter if they agree or are in conflict.  They are able to connect, share, and commune.  This is beautifully writing.  Rosalind Chao and BD Wong embrace these words, and deliver poignant performances. 

Tony Shalhoub, Shohren Aghdashloo, BD Wong, & Rosalind Chao
Photo courtesy of Atlantic Theater Company

What Became of Us is playing at Atlantic Stage 2 Theater.  There are two casts.  BD Wong and Rosalind Chao are performing through June 15.  Tony Shalhoub and Shohren Aghdashloo will step in from June 10 through June 29.  These casting decisions are aligned with Mr. Lotfi’s vision for his play.  His intention “has always been that the roles would alternate between separate parings of actors from different diasporic backgrounds.”  It is sure to be a different experience with the two different casts.  Get your tickets while they last.

Domenick Danza