How I Learned to Drive

 How I Learned to Drive
Manhattan Theatre Club
Samuel J. Friedman Theatre
April 28, 2022 

Photo courtesy of Manhattan Theatre Club

The Manhattan Theatre Club production of Paul Vogel’s How I Learned to Drive is mesmerizing.  Mary-Louise Parker and David Morse step into the award winning roles they created in the original 1997 Vineyard Theatre Off-Broadway production.  Director Mark Brokaw finds a pace that eases the audience into the unsettling events of the story.  We are lured into the action of the play as the darker side is exposed.  The story does not unfold, but jumps around in time, requiring the audience to piece the details together.   

David Morse & Mary-Louise Parker
Photo courtesy of Manhattan Theatre Club

When we first meet Li’l Bit (played by Mary-Louise Parker) and Peck (played by David Morse), they are sitting in a car.  There is a physical distance between them, but the sexual tension and discomfort is potent.  They could be any two people, until we hear her call him “Uncle” Peck.  The action jumps back to Li’l Bit's younger years.    She grew up in Maryland, in a family that made her feel less than whole.  At first, she finds companionship in her Uncle Peck.  Her company helps him stop drinking.  The affection between them grows, until Li’l Bit becomes unable to escape.  Her mother (played by Johanna Day) warns her against spending time with him.  Her Aunt Mary, Uncle Peck’s wife (also played by Johanna Day), is somewhat aware of what is going on, yet waits for it to pass.  Both women feel Li’l Bit is to blame what happens to her.  Li’l Bit survives the sexual misconduct inflicted on her by her Uncle Peck over the years, yet she carries him with her for her everywhere she goes.

Mary-Louise Parker and David Morse are brilliant as Li’l Bit and Uncle Peck.  Ms. Parker embodies a darkness within her throughout the play.  Mr. Morse flavors his character with a soothing southern charm.  They find moments of connection, attraction, disdain, and surrender that draw you into the events.  As Li’l Bit’s resistance builds in the later years of the story, Ms. Parker infuses the character with fierce determination.  Mr. Morse portrays the beginning of Uncle Peck’s downfall with a surprising level of vulnerability.  They are enthralling together.  

Alyssa May Gold, David Morse, Mary-Louise Parker,
Johanna Day, & Chris Myers
Photo courtesy of Manhattan Theatre Club

Johanna Day is powerful as Li’l Bit’s Mother and Aunt Mary.  Her characters have distinct voices, yet share a rhythm that shows the destructive forces that surround Li’l Bit’s upbringing.  Adding to this damaging atmosphere are Alyssa May Gold and Chris Myers as Li’l Bit’s grandmother and grandfather.  Ms. Day, Ms. Gold, and Mr. Myers work as a tight ensemble (“Greek Chorus” as listed in the program), building tension and keeping the action flowing.

Since 1997, Paula Vogel’s How I Learned to Drive has been produced across the country, giving voice to victims of sexual molestation.  It is a most valuable work, addressing the effects of holding in a secret that can have a long term effect.  This Manhattan Theatre Clun production is well directed, skillfully acted, and masterfully produced.  Go see it!  

Domenick Danza

Mr. Saturday Night

 Mr. Saturday Night
Nederlander Theatre
April 23, 2022 

Photo courtesy of Mr. Saturday Night

Billy Crystal lights up Broadway in Mr. Saturday Night.  The show is full of one liners, double takes, and heartfelt moments.  The book is written by the same three who wrote to original move (Billy Crystal, Lowell Ganz, & Babaloo Mandel).  Jason Robert Brown’s score is lively and memorable.  Amanda Green’s lyrics are witty and character driven.  Director John Rando brings all the elements together and shines them up to create a fun new musical.  

The year is 1994.  Buddy Young Jr. (played by Billy Crystal), who was a famous TV comic in the 1950s, is now performing in Senior Homes and feels he has hit bottom.  When he is mistakenly listed as “recently deceased” on the Emmy Awards presentation, his brother Stan (played by David Paymer) flies in from Florida.  Stan was Buddy’s manager in the early days, until they had a falling out.  The Today Show calls Buddy for an interview to correct the error from the Emmy Awards.  Buddy feels this is his chance to make a comeback, so Stan calls in a favor with a big agency, who sends Annie Wells (played by Chasten Harmon) to discuss the possibilities.  In his usual style, Buddy manages to insult Ms. Wells, but she still wants to represent him.  Buddy has a rough road ahead, not just with his career, but in building back the relationship with his brother and healing the relationship with his daughter, Susan (played by Shoshana Bean).  

David Paymer & Billy Chrystal in the 1992 film
Photo courtesy of Warner Bros.

Billy Crystal’s timing during his stand-up routines and old comedy sketches is impeccable.  He and David Payne have a strong connection as brothers, both having played these roles in the original 1992 film.  Their relationship plays out through rhythm and comic timing.  They create a few very serious moments that are genuine and touching.

Randy Graff plays Buddy’s wife, Elaine.  Her character is a grounding force for Buddy.  She is solid and charming in this role, keeping the characters around her connected and the action moving.  Shoshana Bean is engaging and charismatic as Susan.  Her energy pushes each scene forward.  Her solos are strong and emotionally engaging.  Chasten Harmon brings heart and determination to the character of Annie Wells.  She raises the stakes and builds the momentum of the story. 

David Paymer, Billy Crystal, Shoshana Bean, & Chasten Harmon
Photo courtesy of Mr. Saturday Night

The ensemble is made up of three amazing performers: Jordan Gelber, Brian Gonzales, and Mylinda Hull.  Each play numerous roles that resurface throughout the story.  They are full of surprises, while skillfully keeping the action connected and delivering the laughs.  

Mr. Saturday Night has all the humor and heart you expect from a Billy Crystal project.  The story is touching.  The performances are bold and honest.  The set design, by Scott Pask brilliantly incorporates the video and projection designs of Jeff Sugg.  Get a ticket today.  You will definitely enjoy this show.     

Domenick Danza

For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf

 For Colored Girls Who Have Considered Suicide /
When the Rainbow is Enuf
Booth Theatre
April 1, 2022 

Photo courtesy of
For Colored Girls Who Have Considered Suicide /
When the Rainbow is Enuf

Director/Choreographer Camille A. Brown brings For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf vividly to life on Broadway.  The show returns to the Booth Theatre forty-six years after its original opening in 1976.  The brilliant cast creates vibrant characters, infusing Ntozake Shange’s writing and poetry with energy and passion.

Seven women tell tales of youthful hope, bitter disappointment, and hurtful betrayal.  They rise above and find the light within themselves that keeps them moving on.  The poetry rings with truth.  The prose are crisp and bitingly clear.  The choreography expresses the wide expanse of emotions experienced by the characters.  The movement comes from the earth and fills the space with enthusiasm and joy. 

Tendayi Kuumba leads the opening sequence as Lady in Brown, commanding the attention of the audience and luring them in with her expressive rhythms.  Kenita R. Miller, as Lady in Red, delivers a monologue that tears your heart out, then lifts you to a higher place.  Amara Granderson plays Lady in Orange with humor and zest.  D. Wood is sultry and seductive as Lady in Yellow.  Stacey Sargeant, Lady in Blue, tells her stories straight from the heart.  Okwui Okpokwasili is tall and bold as Lady in Green.  Alexandria Wailes is fluid and passionate as Lady in Purple.  

For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf is a unique journey through storytelling, poetry, and movement.  The show was groundbreaking in 1976, and is still relevant and innovative today.  It is playing at the Booth Theatre for a limited time, presently scheduled through August, so get your tickets right away. 

Domenick Danza