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