Leopoldstadt

 Leopoldstadt
Longacre Theatre
December 30, 2022 

Photo courtesy of Leopoldstadt

Tom Stoppard has outdone himself with Leopoldstadt.  The play runs two hours and ten minutes without intermission, and flies by.  The characters are rich and clear, full of vigor and continually standing up for themselves.  They are flawed and real, striving to find their place in the world, while struggling to find their place within their own family.

Photo courtesy of Leopoldstadt

It is 1899.  We meet a very well-off Jewish family living in Vienna.  The children are decorating a Christmas tree.  The adults find it amusing when one of the young boys puts the Star of David on top of the tree.  This is a progressive family, who openly discuss politics, the unjust ways of the world, their Jewish heritage, and the choices some of them made with interfaith marriage.  A few of the women are looking through a photo album.  One of them comments that when a family member dies without a photo, their face is lost forever.  This family looks forward to the turn of the 20^th century with optimism, even thought they are well aware of the obstacles and antisemitism they face.

Photo courtesy of Leopoldstadt

The story continues to follow the children and grandchildren of this family through 1924, 1938, and 1955.  Their personal conflicts continue as the political environment in Austria drastically changes, yet their identity remain strong, as they can see in the photo album they carry with them through the decades.

This play has a cast of over twenty phenomenal actors.  Director Patrick Marber keeps the focus sharp through the span of fifty-six years of action, which includes changes of actors as their characters age.  Tom Stoppard’s writing is dense and complex, full of both political commentary and the personal yearnings of the characters.  Mr. Marber and this skilled cast find the through lines of emotion that keep the audience engaged, connected, and on the edge of their seats.  

As in most of Mr. Stoppard’s work, he uses math as a metaphor for the action.  In this piece, it is the cat’s cradle.  The mathematician character ties three knots in string, then shows the children how to play.  He points out the change in location of the knots every time the string changes shape.  These coordinates seem random when looked at independently, yet, as one of the children points out, they are very much determined by the previous position and movement of the string.  This represents the migration of the Jewish people over centuries, never having a land of their own, being forced to move by varied political and social upheaval. 

Photo courtesy of Leopoldstadt

During a political discussions in the 1924 scene, one of the characters asks, “Do you really think it will happen again?”  She is referring to the hatred that keeps the Jewish people persecuted and transitory.  The characters have no idea what is ahead for them.  When we get to the final scene, where three family members are reunited in 1955, they read off the names on their family tree.  They solemnly state the names of their family members who were killed in Auschwitz.  Tom Stoppard gives us pause to identify the hatred that was strongly present int the 20^th Century and recognize it is still alive in the 21^st.  This profound moment pulls the meaning of this fifty-six year story together.  It is a visceral moment of awareness and a bold statement on the continuous legacy of hatred throughout history.

Leopoldstadt is playing at the Longacre Theatre.  You must see this play!

Domenick Danza

Ohio State Murders

 Ohio State Murders
James Earle Jones Theatre
December 26, 2022 

Photo courtesy of Ohio State Murders

Audra McDonald transforms herself into the role of Suzanne Alexander in Adrienne Kennedy’s Ohio State Murders.  She shares the stage with four skilled actors, yet the piece plays like a one-character show.  The other characters enhance the action and keep it centered in the present, while Ms. McDonald’s character narrates the full story, weaving through time with an emotionally impactful outcome.  Director Kenny Leon carefully finds the moments for Ms. McDonald to explore rich subtext that draws the audience in and fully connects them to the main character’s journey.

Suzanne Alexander (played by Audra McDonald) is asked where the violent images in her work come from.  This questions takes her back to the years she spent at Ohio State University.  As a young Black woman, she faces the limitations place on her and dives into her literature studies.  She is enamored by her professor, Robert Hampshire (played by understudy Christian Pedersen).  He recognizes the brilliance in her papers and assignments.  She is asked to leave the dormitory when she finds out she is pregnant.  Shunned by her parents, she goes to live in New York City with her Aunt Louise (played by Lizan Mitchell).  She gives birth to twin girls, and, supported by her aunt, returns to Ohio State to continue her studies.  Everything is progressing well, until the abduction and murder of one of her twin baby girls.  She stays at Ohio State, hoping to find out who committed this horrendous crime.  It is not until two years later, when her second daughter is murdered, that she finds out.  All is kept private, until she is asked about the violent images in her work.  She then speaks freely. 

Photo courtesy of Ohio State Murders

Adrienne Kennedy’s writing is compelling.  It has a natural flow that keeps the audience hanging on for the next sentence.  The piece is relatively chronological, yet has subtle loops in time that reveal details that deepen the action and propels it forward.  These are powerful moments that make the audience listen more intently and think more acutely.  

Audra McDonald encompasses every nuance in Ms. Kennedy’s writing.  She personalizes the character’s experience at Ohio State in the 1950’s so you can feel the atmosphere and identify with her challenges.  Ms. McDonald finds the richness beneath the written words, creating a character with genuine depth.  She is eager, vulnerable, and tenacious.  You can see the weight of character’s life experiences in Ms. McDonald’s eyes in the opening scene.  By the end of the story, you fully comprehend what she carries. 

Ohio State Murders is playing at the James Earl Jones Theatre through February 12.  The renovation of the theatre is remarkable.  This play is the perfect way to celebrate the new space.  Don’t miss it! 

Domenick Danza

Des Moines

 Des Moines
Theatre for a New Audience
Polonsky Shakespeare Center
December 23, 2022 

Photo courtesy of Theatre for a New Audience

Denis Johnson crafted his play Des Moines with mesmerizing dialogue that captures interest and builds intrigue.  His characters are on the edge, dark, and simmering.  The Theatre for a New Audience production is riveting.  Director Arin Arbus uses Mr. Johnsons rhythms and silences to lure the audience and involve them in the action.  Once engaged, there is no release, just a plunging spiral, fueled by unwavering hope.

Michael Shannon, Johanna Day, & Arliss Howard
Photo courtesy of Theatre for a New Audience

Dan (played by Arliss Howard) is home from work at the Car Barn, where he drives a taxi.  He and his wife Marta (played by Johanna Day) share the news of their day.  A woman, Mrs. Drinkwater (played by Heather Alicia Simms) came by Dan’s work to inquire about a ride he gave her husband to the airport.  It was her husband’s final cab ride.  His plane crashed and he was killed.  Mrs. Drinkwater asks Dan about her husband’s last words, then shows him her husband’s wedding ring, which she accidentally leaves with Dan.  Marta tells Dan that Father Michael (played by Michael Shannon) will be stopping by, which reminds Dan that he saw Father Michael outside a gay bar at closing time, wearing woman’s make-up.  When Father Michael arrives, Marta breaks the news to Dan that the Doctor told her she has two to four months to live.  They decide to go out for a drink, leaving Father Michael with Jimmy (played by Hari Nef) who is in a wheelchair due to complications during sex change surgery.  When Mrs. Drinkwater arrives to pick up her husband’s wedding ring, the drinking begins.  When Dan and Marta return, the drinking accelerates.  They all sing Karaoke, baring their souls in a drunken frenzy.  Morning comes.  They all stand tall to face the day ahead.  

Arliss Howard & Hari Nef
Photo courtesy of Theatre for a New Audience

This cast of actors each create truthful, multi-layered characters, who are all driven by deep need and propelled by boundless energy.  The action builds as these drives connect, uniting them on their journey of facing insurmountable personal challenges.  Each actor has a clear sense of what keeps their characters moving forward.  This is what sustains the audience’s investment in the heightened action.  There is sorrow, but no grieving  There is conflict, but no animosity.  They spiral into darkness, then slowly and steadily rise with hope.

The Theatre for a New Audience production of Des Moines is masterfully conceived and skillfully directed and performed.  Denis Johnson has written a truly unique piece of theatre.  You become one with these character in their bizarre mingling and faithful persistence.  The play is compelling and thought provoking.  This production has been extended through January 8 at the Polonsky Shakespeare Center in downtown Brooklyn.  

Domenick Danza

A Man of No Importance

 A Man of No Importance
Classic Stage Company
December 17, 2022 

Photo courtesy of Classic Stage Company

The Classic Stage Company production of A Man of No Importance is stunning and heartwarming.  It is based on the 1994 film of the same title.  The book, by Terrance McNally, delves into the characters and weaves them into emotional connections that forever change their outlooks.  The music, by Stephen Flaherty, creates an atmosphere that draws you in.  You feel part of this close-knit community.  Lynn Ahrens lyrics propel the action forward by deepening the awareness of the character’s inner lives.  John Doyle directed and designed the production to flow seamlessly and fill the space with poetry, passion, and tenderness.

It is the 1960’s in Dublin Ireland.  Alfie Byrnes (played by Jim Parsons) is a conductor for Dublin’s public transportation system, collecting tickets and reciting poetry to his passengers.  When he is told by Father Kenny (played by Nathaniel Stampley) that his theatre production of Oscar Wilde’s Salome cannot take place in the church hall because of its immoral content, it sends him into a period of self-reflection.  He sees himself as a man of no importance.  He thinks back to the day he decided to move forward with his idea of directing Salome with his little theatre troupe.  Adele Rice (played by Shereen Ahmed) boards his bus for the first time.  She looks like an exotic princess to Alfie, so he convinces her to accept the role of Salome.  Alfie’s sister, Lily (played by Mare Winningham) is happy to hear Alfie talk about Miss Rice.  She feels this might be Alfie’s chance to find happiness, get married, and settle down.  She does not know about Alfie’s secret attraction to Robbie Fay (played by A.J. Shively), the driver on Alfie’s route, who is cast as John the Baptist in the play.  As the production of Salome comes under scrutiny, Alfie faces the truth about himself and his “love that cannot speak its name,” and finds more acceptance that he expected. 

A.J. Shively & Jim Parsons
Photo courtesy of Classic Stage Company

The story poetically unravels with simple honesty, which reflects the setting and time period.  The characters are all very well developed and beautifully performed.  Jim Parsons is grounded and tranquil as Alfie Byrne.  The character is committed to poetry, theatre, and the works of Oscar Wilde.  He cannot imagine why anyone would not be open and enthusiastic about experiencing and creating art.  Mr. Parsons portrays this character with genuine sincerity and conviction.  Mare Winningham is endearing as his siter Lily.  She supports her brother and pushes him to find happiness and love.  She is shocked when Alfie’s truth is revealed, yet she stands by him when he needs her most.  A.J. Shively is suave and outgoing as Robbie Fay.  He portrays the character as an average man seeking adventure in his day to day life in Dublin.  His friendship with Alfie is touching.

Photo courtesy of Classic Stage Company

There are equally amazing performances by Shereen Ahmed, Alma Cuervo, Kara Mikula, Da’Von T. Moody, Mary Beth Peil, Thom Sesma, Nathaniel Stampley, Jessica Tyler Wright, Joel Waggoner, and William Youmans.  A Man of No Importance extended it’s run at Classic Stage Company, yet unfortunately closes on December 18.  I hope this will not be the last we see of this show.  It is a rare gem, truly charming and uniquely moving.

Domenick Danza

Some Like It Hot

 Some Like It Hot
Shubert Theatre
December 9, 2022 

Photo courtesy of Some Like It Hot

The creators of Some Like It Hot have taken a much loved Hollywood classic and transformed it into a brand new Broadway musical.  The story has the same premise and structure as the film, yet develops the characters in unexpected ways that ring with sheer joy, while making direct and honest statements about the time period.  Marc Shaiman’s score is filled with one show stopper after another.  When he hits you with a ballad, you drink it in for all it’s worth.  The book by Matthew López and Amber Ruffin is sharp, funny, and full of surprises.  Casey Nicholaw masterfully directs and choreographers with a clear vision and potent delivery.

When Joe (played by Christian Borle) and Jerry (played by J. Harrison Ghee) witness a mob hit while playing a club in Chicago, they are forced to put on dresses and join an all girl’s band that is headed to California.  Sweet Sue (played by NaTasha Yvette Williams) formed the band as a way to get out of playing Speakeasies.  She hired Sugar (played by Adrianna Hicks) as her lead singer, who is always late and breaks all the band’s rules.  Joe, now called Josephine, is strongly attracted to Sugar, while Jerry, who now goes by Daphne, is finding himself very comfortable dressing as a woman.  When they get to California, Daphne meets Osgood (played by Kevin Del Aguila), a wealthy hotel owner.  Osgood sweeps Daphne off to Mexico for a romantic night of dancing, where Daphne gains her confidence.  Meanwhile, Joe, disguised as a film director, takes Sugar for a date on Osgood’s yacht.  They talk (and dance) and fall in love (Fred and Ginger style).  When the gangsters show up in California to invest in Sweet Sue’s all girl band, all hell breaks loose, and it’s time to face the music. 

Christian Borle & J. Harrison Ghee
Photo courtesy of Some Like It Hot

Christian Borle and J. Harrison Ghee are a dynamic team.  Their comic timing is perfect and they dance as one.  Adrianna Hicks is vibrant as Sugar.  Her character belts out the ballads in the score, creating grounded, truthful, and riveting moments.  NaTasha Yvette Williams creates the through line of action for the show as the no-nonsense, sarcastic Sweet Sue.  She keeps the pace moving.  Her singing rocks the house.  Kevin Del Aguila plays both comedy and romance with equal dexterity as Osgood.  He takes the funniest moments and shifts to heartfelt sincerity in an instant.   

Adrianna Hicks as Sugar
Photo courtesy of Some Like It Hot

While in Mexico, the character of Jerry realizes that Daphne is more than just a disguise, but an opportunity to be himself.  J. Harrison Ghee plays this as a genuine awakening.  It is touching and truthful, yet Mr. Ghee finds the timing that brings the laughs.  His warmth and vulnerability are magnetic.  His song, “You Coulda Knocked Me Over With a Feather” is flawlessly performed and impeccably written (lyrics by Scott Wittman and Marc Shaiman).  

The climax of Act II is a tap dancing, door slamming, farcical chase that ends with a bang.  It is like nothing you’ve ever seen before.  Some Like It Hot is sure to be a big hit.  You’ve got to see it!   

Domenick Danza

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

Topdog/Underdog

 Topdog/Underdog
Golden Theatre
November 10, 2022 

Photo courtesy of Topdog/Underdog

The 20^th anniversary Broadway revival of Suzan-Lori Park’s Topdog/Underdog is magnificent.  It is an engaging and powerful piece of theatre.  This 2002 Pulitzer Prize winning play still packs a potent punch.  Kenny Leon has masterfully directed this piece with two strong, captivating actors.  Corey Hawkins and Yahya Abdul-Mateen II are brilliant together.  The competition between their two characters is constantly present.  It continually builds with a visceral tension until it explodes in an unexpected climax.

Corey Hawkins & Yahya Abdul-Mateen II
Photo courtesy of Topdog/Underdog

Lincoln (played by Corey Hawkins) is staying with his brother, Booth (played by Yahya Abdul-Mateen II).  Booth is practicing dealing Three Card Monte to hustle on the street.  He wants to change his name to Three Card.  Lincoln has given up the cards and has a “real job.”  He is portraying Abraham Lincoln in an arcade, where people pay to assassinate him.  The brothers were abandoned by their parents when they were teenagers.  Each was given a five hundred dollar “inheritance” before their parents walked out on them.  Lincoln spent his, while Booth saved it, untouched.  When Lincoln loses his job, he reverts back to hustling cards.  Booth forces him to share his secrets on dealing.  While doing so, Lincoln wins his brother’s inheritance money.  This pushes Booth farther over the edge than either of them anticipated.

Corey Hawkins & Yahya Abdul-Mateen II
Photo courtesy of Topdog/Underdog

The play’s effectiveness relies on the relationship of the two brothers.  They count on each other, yet are constantly trying to top one another.  One of the brothers explains that their father gave them their names (Lincoln and Booth) as a joke.  Their rivalry and bond were engrained in them from birth.  Corey Hawkins and Yahya Abdul-Mateen II find the rhythm to impressively create this dichotomy.  They are competitive allies, supporting each another one minutes, then seamlessly transitioning into high stakes opposition.  Mr. Hawkins and Mr. Adbul-Mateen are genuinely connected throughout the story.  Their moments of triumph and defeat are clear and critical to the momentum of the action. Their physical portrayals are distinctive, creating strong antagonism and making them equally enthralling.  

Topdog/Underdog is Suzan-Loir Parks at her best.  Director Kenny Leon connects every seed Ms. Parks plant throughout the action, delivering this piece to a stunning and shocking conclusion.  Don’t miss this production.  It is playing at the Golden Theatre.  

Domenick Danza

Parade

 Parade
New York City Center
Annual Gala Presentation
November 3, 2022 

Photos courtesy of New York City Center

The New York City Center Annual Gala Presentation of Parade is flawless.  Jason Robert Brown magnificently conducts his lavish score, passionately depicting a distinctive setting and bringing to life vibrant characters.  Alfred Uhry’s 1998 book shines bright in the light of our present day sensitivities.  Director Michael Arden stages the production on a simple unit set.  The action continually move, building dramatically to reveal the truth, not only for the main characters, but for the beliefs of the people of Georgia.

Leo Frank (played by Ben Platt) is transplanted to Marietta, Georgia when his wife’s uncle offers him a job.  Leo is a Jew from Brooklyn.  His wife, Lucille (played by Micaela Diamond) is a Jew from Georgia.  They were raised in the same faith, but it’s as if they are from different lands.  Leo feels out of place in Marietta, and Lucille wants him to slow down and enjoy the southern way of life, including the Memorial Day Parade, which celebrates the efforts of the Confederate Soldiers during the Civil War.  When the body of Mary Phagan, a 14 year old girl (played by Erin Rose Doyle) is found dead in the basement of Leo’s factory, his is arrested and found guilty of murder.  He is sentenced to death, yet continually maintains his innocence.  Lucille makes a strong appeal to Governor Slaton (played by Sean Allan Krill).  He investigates the testimony of the witnesses in Leo’s trial, and uncovers inconsistencies and lies.  He repeals Leo’s sentence to life in prison, but the good citizens of Marietta have another plan in mind.

Micaela Diamond & Ben Platt
Photo courtesy of New York City Center

Ben Platt and Micaela Diamond are brilliant as Leo and Lucille Frank.  Leo holds a conservative point of view of their roles in the marriage, therefore does not have much faith in his wife.  Lucille steps up to help Leo when all hope seems lost.  Ms. Diamond rises in that moment.  Her character defies her husband’s expectations.  Mr. Platt and Ms. Diamond become united in these moments.  They achieve a genuine bond, which propels the story through to the end.  Jason Robert Brown’s songs in the second act for these two characters are passionate and visceral, reflecting the deepening of their relationship.  These songs soar with emotion, as Mr. Platt and Ms. Diamond voices blend and fill the expansive City Center auditorium with joy and abandon.

Photo courtesy of New York City Center

The intimate story of Leo and Lucille Frank takes place within the value system of the old south, which includes the need to defend that way of life at all cost.  This production will make you stop and realize how little we have progressed in the past decades, and how vital it is to continue to push forward.  

Jason Robert Brown’s score requires a large cast of superb voices in order to be performed successfully.  This cast exceeds all expectation, delivering brilliance throughout the show.   

Parade is playing at City Center through November 6.  Don’t miss it! 

Domenick Danza

A Little Life

A Little Life
BAM Howard Gilman Opera House
October 29, 2022

Ramsey Nasr & Maarten Heijmans
Photo courtesy of BAM & Internationaal Theatre Amsterdam

Internationaal Theatre Amsterdam’s production of A Little Life played at BAM’s Howard Gilman Opera House from October 20 through 29.  The play is adapted by Koen Tachelet from Hanya Yanagihara’s 2015 novel.  It is a powerful piece, running four hours and ten minutes with one intermission.  It is performed in Danish with English subtitles.  Director Ivo van Hove has outdone himself on this production.  He keeps the action focused and clear.  As in the original novel, the story is character driven.  The relationships build to tell a harsh and cruel story that leaves you filled with compassion, marveling at how precious life truly is.

Maarten Heijman, Ramsey Nasr, Majd Mardo, & Edwin Jonker
Photo courtesy of BAM & Internationaal Theatre Amsterdam

The story is about four friends: Jude (played by Ramsey Nasr), Willem (played by Maarten Heijmans), JB (played by Majd Mardo), and Malcolm (played by Edwin Jonker).  Jude is a successful lawyer with a physical disability, caused by a “car accident” in his youth.  When his mentor, Harold (played by Jacob Derwig) decides he wants to adopt him, Jude’s fears rise to the surface.  His doctor, Andy (played by Bart Siegers), notices a drop in Jude’s health.  Jude is a cutter, inflicting pain on himself as a means of balancing the challenges he faces with abuses he suffered in his youth.  He keeps this a secret from Harold and his friends.  Amid flashbacks of his abuse, Jude has memories of time spent with Anna (played by Marieke Heebink), a therapist he worked with for many years.  After Jude is hospitalized because of an violent incident with Caleb, a man he is secretly seeing (played by Hans Kesting), Willem steps up to give him the care and support he needs.  Willem develops an intimate closeness with Jude, which opens a door for him to face his past and begin the slow and painful process of healing. 

Maarten Heijmans & Ramsey Nasr
Photo courtesy of BAM & Internatinaal Theatre Amsterdam

Ramsey Nasr draws the audience deeply into Jude’s story.  The details of his past are revealed one layer at a time.  As each layer peels back, we gain a clearer understanding of Jude’s inability to open up and form close, intimate, and lasting relationships.  Maarten Heijmans portrays Willem as selfless and compassionate.  He sacrifices parts of himself so Jude can build trust in him.  Their scenes are truthful and honest.  They develop a genuine relationship that is vulnerable and transformative.

A bold choice by Ivo van Hove was to cast the same actor (Hans Kesting) as the three men (Caleb, Luke, and Traylor) who inflict extreme abuse on Jude.  This allows the audience to comprehend how Jude’s’ abusive past formed continual trauma, causing Jude’s thick layer of defense and elevated need for secrecy.  As in past productions, Mr. van Hove uses the image of blood throughout the piece.  This symbolizes the pain and scars Jude perpetually carries.  It successfully illustrates the brutality of the story, without overwhelming the audience with its severity. 

This production keeps true to Hanya Yanagihara’s brilliant writing.  The characters of BJ and Malcom are not as detailed as in the novel, but it does not take away from the impact of the story.  Unfortunately, A Little Life played at BAM for a limited run.  Since it was part of BAM’s Next Wave Festival, there is no telling where it will be heading next.  If you see it scheduled in another venue, make sure to get a ticket.  Whether your read the novel or not, this production surely will have a powerful and lasting impact. 

Domenick Danza

Almost Famous

Almost Famous
Bernard B. Jacob Theatre
October 19, 2022 

Photo courtesy of Almost Famous

Cameron Crowe has adapted his movie Almost Famous into an edgy, poignant, and vibrant Broadway musical.  The characters are skillfully crafted, vulnerable, and daring.  The action is driven by Tom Kitt’s music and lyrics.  Sarah O’Gleby’s choreography enhances the action, defines the characters, and grounds the time period.  Director Jeremy Herrin pulls it all together, leaving the audience with a stunning and emotionally fulfilling ending.

Photo curtesy of Almost Famous

The year is 1973.  William Miller (played by Casey Likes) is an intelligent high school senior, being raised by an overprotective, single mother (played by Anika Larsen).  When his sister, Anita (played by Emily Schultheis) moves out, she leaves him a stack of vinyl records.  William gets lost in the music.  He becomes an expert and begins to write articles expressing his point of view.  He lands an assignment to write for a local rock magazine, which causes him to meet the members of the band Stillwater, and more importantly Penny Lane (played by Solea Pfeiffer).  When Rolling Stone Magazine contacts him about writing for them, they think he is an older, experienced journalist.  William jumps at their offer and proposes an in depth story on the rise of Stillwater.  Rolling Stone pays him to join their tour, setting him on a life changing adventure. 

Casey Likes & Solea Pfeiffer
Photo courtesy of Almost Famous

Casey Likes, who is making his Broadway debut, is perfectly cast as William.  His character is naive, brave, and likeable.  We eagerly follow his journey as he dives into the fast-paced world of rock and roll.  Solea Pfeiffer is wild and free as Penny Lane.  She shares a few genuinely tender moments with Mr. Likes that deepen the story and reveal her character’s many layers.  Her chemistry with Chris Wood, who plays Russell Hammond, the lead guitarist of Stillwater, is magnetic.  Mr. Wood is riveting in this dynamic and mysterious role.  These three actors portray multifaceted characters who have a lasting impact on one another.  Their relationships grow as the story progresses, keeping the audience fully involved and emotionally engaged.

There are also strong performances by Anika Larsen, Emily Schultheis, and Drew Gehling.  As William’s mother, Ms. Larsen creates a strong home base that continually calls to her son, reminding him of who he is.  This generates a strong and effective tension throughout the story.  Emily Schultheis’ character of Anita, William’s sister, gives him the inspiration that propels his journey.  She is honest and caring in this role.  Drew Gehling’s portrayal of Jeff, the lead singer of Stillwater, is full of bravado, instigating conflict between the band members.  This causes the darker side of their characters to be revealed. 

The entire cast is strikingly energetic.  They all develop distinct characters that illuminate the time period.  The fast pace is set at the top of the show, and everyone on stage works to keep the story moving forward at lightning speed.  

If you liked the original movie, you will love this show.  Almost Famous is playing at the Bernard B. Jacobs Theatre.  Go see it!

Domenick Danza