Children of a Lesser God

Children of a Lesser God

Studio 54

March 24, 2018

Photo courtesy of Children of a Lesser God

The Broadway revival of Children of a Lesser God is vibrant and powerful.  A diverse cast of skilled actors bring Mark Medoff’s 1980 Tony Award winning play into the present with clarity and relevance.  Scenic design by Derek McLane and lighting design by Mike Baldassari are slick, clean, and unified.  Director Kenny Leon builds the conflict to a high point of revelation that will shift your point of view and open your awareness.  

Joshua Jackson & Lauren Ridloff
Photo courtesy of Children of a Lesser God

Speech Therapist James Leeds (played by Joshua Jackson) has great success teaching deaf and hard of hearing students to speak.  He is assigned a new student, Sarah Norman (played by Lauren Ridloff).  He is challenged by her certainty that communicating through sign language is sufficient.  His attempts to find an entry point around her resolve and stubbornness cause him to fall in love.  The challenge in their relationship increases after they are married.  Her close friends in the deaf community feel Sarah has turned her back on them, and the hearing world is unable to communicate with her unless her husband is translating.  The closer they get, the more out of reach they feel from one another.  How can they unite when there are elements in their worlds they cannot share and will never fully understand?

Photo courtesy of Children of a Lesser God

Lauren Ridloff and Joshua Jackson are drawn to one another as Sarah and James.  They ignite the conflict at the start of this well written play and keep the action aflame through the full two acts.  John McGinty is riveting as Orin Dennis, another of James’ students and close friend to Sarah.  His character is passionate about the rights of the individuals in the deaf community.  The chemistry between him and Ms. Ridloff is palpable.  Treshelle Edmond is fresh and vivacious as the naive Lydia, a hearing impaired student who has a crush on her teacher, James.  Her energetic spirit fills the stage every time she enters.

Children of a Lesser God addresses the differences that separate us.  The play definitively expresses that no one has the right to change or mold another individual to reflect their own image.  This is a strong and pertinent theme for audiences to experience at this time, and this production beautifully illustrates it.  Children of a Lesser God is playing at Studio 54 through September 9. 

Domenick Danza

The Winter’s Tale

The Winter’s Tale

Theatre for a New Audience

Polonsky Shakespeare Center

March 17, 2018

Photo courtesy of
Theatre for a New Audience

The Theatre for a New Audience production of The Winter’s Tale brings brilliant clarity to Shakespeare’s unique two part story.  The first half is dark and tragic, fueled by a King’s jealous passion.  The second part transitions into a love story full of redemption and forgiveness.  Director Arin Arbus magnificently weaves Shakespeare’s mixture of genres.  As the play shifts locations before the intermission, so does the tone, texture, and timing.  The cast seamlessly carries the audience through the journey to Shakespeare’s comic and enchanted conclusion.

When Leontes, King of Sicilia (played by Anatol Yusef), suspects his wife Hermione (played by Kelly Curran) of infidelity with his friend Polixenes, King of Bohemia (played by Dion Mucciacito), he lets his jealous nature rule his decision making.  He has Hermione arrested and orders Camillo (played by Michael Rogers) to kill Polixenes.  Camillo sees the error in Leontes’ judgement, vows loyalty to Polixenes, and exiles himself to Bohemia.  While imprisoned, Hermione gives birth to a daughter, who Leontes suspects is not his.  He sends Antigonus (played by Oberon K. A. Adjepong) to abandon the infant in a far off, baron location.  While on trial, Hermione collapses after hearing that her son, Prince Mamillius (played by Eli Rayman) has died of grief.  Shortly after the Oracle of Delphi confirms Hermione’s innocence, Paulina, the Queen’s lady-in-waiting (played by Mahira Kakkar), delivers the tragic news that she has died.     

The Cast of The Winter's Tale
Photo courtesy of Theatre for a New Audience

Antigonus chooses to leave the infant princess in Bohemia with a chest of gold and jewels that belonged to Hermione.  He defends the infant from a bear attack, and is himself devoured.  A shepherd and his son (played by John Keating and Ed Malone) find the child, name her Perdita, and raise her as their own.  Sixteen years pass and Perdita (played by Nicole Rodenburg) falls in love with Polixenes’ son Florizel (played by Eddie Ray Jackson).  He defies his father by vowing to marry her.  Camillo, in an effort to make amends with Leontes, tells Florizel to take his bride to Sicilia and ask Leontes to marry them.  When they arrive in Bohemia, it is discovered that Perdita is heir to the throne of Sicilia.  The love between her and Florizel reunites Leontes with Polixenes.  In the final moment of the story, Paulina unveils a statue of Hermione.  Leontes becomes emotional at the excellence of the likeness.  His remorse and love is so great that the stature is brought to life. 

Director Arin Arbus
Photo courtesy of Theatre for a New Audience

The cast brings truth to the depth of emotion in the tragic first half of the show, then joy to the lighthearted frolic of the second half.  All the characters develop over the sixteen year time span between these sections.  Ms. Arbus skillfully illustrates Shakespeare’s theme of atonement and forgiveness that comes with the passage of time.  Mahira Kakkar (as Paulina) creates a clear through line of this theme with the persistence and fortitude in her character.  Her transition of age and demeanor are concise.  Her character observes the growth and change of Leontes, waiting to unveil the statue of Hermione until he is truly rehabilitated.  Is it magic, or her and Hermione’s secret plan to stay hidden until the time is right?  See the production and decide for yourself.

The Winter’s Tale is playing at Theatre for a New Audience’s Polonsky Shakespeare Center in Downtown Brooklyn through April 15.

Domenick Danza

Gabriel: A Polemic

Gabriel: A Polemic

The Drilling Company

North of History

March 10, 2018

Photo courtesy of The Drilling Company

In her play, Gabriel: A Polemic, playwright C. Denby Swanson exuberantly explores the concept of free will.  The Drilling Company production, now running at North of History, invites the audience into Ms. Swanson’s well developed debate by gathering us around the dinner table with the characters.  The intimate setting, honest performances, and precise direction beautifully blend to make a highly engaging experience.  Director Hamilton Clancy builds the conflicts in Ms. Swanson’s skillful writing with the volatility, faith, and genuine affection that the characters have within their hearts.

Susan (played by Jane Bradley) invites her sisters in faith, Brenda (played by Rachel A. Collins) and Jennifer (played by Brandi Varnell), to Christian Sabbath dinner.  Her topic for discussion is free will.  More specifically: Did the Virgin Mary have free will when Angel Gabriel announced to her she was with child?  Jennifer adamantly quotes the bible to answer Susan’s question.  Brenda has a naive faith in Jennifer’s citations.  Susan is clearly experiencing a crisis of faith.  Six month earlier, she had a miscarriage and continually brings up the hurtful fact that all three of them are unable to bear children.  When Louise (played by Elaine Ivy Harris) arrives, who has been absent from their sisterhood for a number of months, she is pregnant and unmarried.  The four women face their fears, doubts, and resentments as their debate gets personal and heated.

Jane Bradley, Brandi Varnell, Rachel A. Collins, & Elaine Ivy Harris
Photo courtesy of The Drilling Company

Jane Bradley portrays Susan with a dexterous balance of cynicism and hope.  Her actions are fueled by a deep longing for support, understanding, and forgiveness.  The reveal of the specific cause of her crisis is genuine and heartbreaking.  Elaine Ivy Harris is honest and open as Louise.  She is vulnerable in her opening monologue, then skillfully transitions her demeanor when confronted by her sisters at the dinner table.  This creates a clear and emotional arc for her character.  Brandi Varnell’s Jennifer is resolute and impassioned.  She vehemently takes on Susan’s challenge and has no trouble judging Louise’s situation.  Ms. Varnell takes the character to her breaking point.  She finally waivers, but never fully relinquishes her point of view.  Rachel A. Collins’ portrayal of Brenda is fresh and trusting.  When the character finally breaks out of her passive exterior toward the end of the play, we see the depth of her optimism, dedication, and true belief. 

Playwright C. Denby Swanson
Photo courtesy of C. Denby Swanson

C. Denby Swanson wrote four extraordinary characters.  They are intelligent, zealous, and complex.  Mr. Clancy keeps the action focused so you can appreciate the polemic (a passionate, strongly worded, and often controversial argument) from all sides.  Gabriel: A Polemic is playing through March 26 at North of History (445 Columbus Ave., between 81^st and 82^nd St., NYC).    Get your tickets on smarttix and be prepared to have your point of view challenged.

Domenick Danza

Come From Away

Come From Away

Gerald Schoenfeld Theatre

March 3, 2018

Photo courtesy of Come From Away

On September 11, while the city of New York was experiencing a horrific terrorist attach that has become a part of our country’s fabric, airplanes destined for the United States were forced to land in alternative locations due to the closing of the airspace.  Come From Away tells the story of 7,000 passengers aboard 38 planes that landed in Gander, Newfoundland.  This small town’s population doubled during that five day period.  The people of Gander opened their homes and hearts to assist the needs of the stranded passengers from all over the world.

The book, music, and lyrics by Irene Sankoff and David Hein bring to life a wide range of characters, all based on interviews and true stories.  The score makes your heart beat a little faster in one moment, then break in the next.  Director Christopher Ashley simply and effectively creates moments of human tragedy and generosity that ring with truth and heart.  The musical staging by Kelly Devine is rhythmic, succinct, and innovative.

Jenn Colella
Photo courtesy of Come From Away

The ensemble cast plays numerous roles changing their accents, physicality, and vocal intonations in an instant.  Their timing is tight and synchronized.  The show moves at a great pace, and the cast creates realistic, honest moments that keep you mesmerized.  There are outstanding performances by Petrina Bromley, Jenn Colella, Alex Finke, De’Jon Grant, Joel Hatch, Chad Kimball, Lee MacDougall, Astrid Van Wieren, Sharon Wheatley, and Josh Breckenridge.

Photo courtesy of Come From Away

Come From Away celebrates the generosity of the human spirit in the telling of events following 9/11.  That day has left a lasting effect on our lives, our country, and our society.  Come From Away articulately depicts those moments of change.  They become visible and tangible in this production, giving us pause to contemplate our personal journeys. 

Domenick Danza

On a personal note:  I saw this show on faculty and staff a field trip with coworkers from the school where I teach.  It was a valuable shared experience for us.  I recommend you see “Come From Away” with a group.  Contact Broadway Inbound (https://www.broadwayinbound.com/) for group ticket pricing.