Camelot

 Camelot
Lincoln Center Theater
at the Vivian Beaumont
July 1, 2023 

Photo courtesy of
Lincoln Cetner Theater

The Lincoln Center Theater revival of Lerner & Loewe’s Camelot tells the tale of an idyllic realm, built on the belief in equality and justice.  The book, revised by Aaron Sorkin, focuses on the challenge of this ideal, and the battle between intellect and mysticism.  Bartlett Sher majestically directs this stellar cast, drawing the audience into a regal world of knighthood, integrity, and respect, which dissolves due to jealousy, mistrust, and treachery.

Princess Guenevere of France (played by Phillipa Soo) is promised to King Arthur of England (played by Andrew Burnap) in a treaty of peace between their countries.  Guenevere, unhappy about her pending nuptials, offers her dowry to a stranger she meets in the forest to help her escape.  Little does she know that this stranger is Arthur, who has been walking in the woods out of nervousness over meeting his new bride.  Arthur sings to Guenevere of the idyllic Camelot, the Camelot of his dreams, the metaphor of his perfect and peaceful home.  She agrees to go with him to the castle, where she joins him in creating this utopia.  She and Arthur discuss the possibilities of transforming his band of knights into a noble assembly, with equal voice and influence.  The knights are uncertain about this change, but are definitely averse to Arthur’s decision to invite the French to join his round table.  Lancelot de Lac (played by Jordan Donica) travels from France and pledges his honor to King Arthur and his vision for Camelot.  Lancelot is strong and suave.  He quickly gains the trust of the king, and catches the eye and heart of the queen.    

Phillipa Soo, Andrew Burnap, & Jordan Donica
Photo courtesy of Lincoln Center Theater

King Arthur is written as a young man who unwillingly has the crown thrust upon him when he
removed the sword, Excalibur, from the stone.  Andrew Burnap nobly portrays this youth with charm and ambition.  He is eager to make his mark on the kingdom and create a better future for its people.  He transforms into a ethical leader, yet never loses his youthful outlook.  Phillipa Soo portrays Guenevere as a feisty, determined young woman.  She takes her role as queen seriously, while joyfully participating in shaping the court and kingdom to her husband’s vision.  They become true partners.  Jordan Donica’s Lancelot is bold and confident.  His commitment to his beliefs and role as a knight outweigh his secret passion for Guenevere.  These three actor have luminous chemistry.  They develop their relationships through integrity and respect.  Their singing voices soar, filling the theatre with joyous passion. 

Photo courtesy of Lincoln Center Theater

The entire cast delivers excellent performances.  Dakin Matthews is wise and grounded as both Merlyn and Pellinore.  Taylor Trensch is sneaky and undermining as Mordred.  Marilee Talkington is mysterious and conniving as Morgan Le Fey.

Set design by Michael Yeargan is truly magnificent.  The interiors of the castle are simple and expansive.  The space then opens up even further to sprawling exterior scenes.  The projections by 59 Productions and lighting by Lap Chi Chu enhance the set design by creating intimate areas and vast regions. 

Photo courtesy of Lincoln Center Theater

The opening scene between Arthur and Guenevere is Mr. Sorkin’s strongest writing.  The characters are
introduced with wit and humor, smoothly establishing the conflict between them and vigorously setting the story in motion.  

Camelot is set to close on July 23.  Time is running out.  Get your tickets while you still can. 

Domenick Danza

To Kill a Mockingbird

To Kill a Mockingbird

Shubert Theatre

May 18, 2019

Photo courtesy of To Kill a Mockingbird

Experiencing the Broadway production of To Kill a Mockingbird far exceeds any of the expectations you might have from the praise it continually receives.  Aaron Sorkin’s adaptation preserves the heart of Harper Lee’s coming of age classic.  He gives voice to the racial injustice portrayed in the story in a more direct manner so it becomes relatable to a present-day audience.  He develops numerous minor characters, which magnifies Atticus Finch’s continually telling the children that you will never truly know a person until you “live in their skin.”  This is a slight glimpse into how Mr. Sorkin creates a visceral experience with his adaptation that deepens the connection to an already engaging, touching, and well-known story.  Combine that with phenomenal direction by Bartlett Sher and an amazing cast, lead by Jeff Daniels and Celia Keenan-Bolger, and the theatre rings with an energy that heals and uplifts your soul.

Celia Keenan-Bolger & Jeff Daniels
Photo courtesy of To Kill a Mockingbird

The story goes back and forth in time, starting with Scout Finch (played by Celia Keenan-Bolger), her brother Jem Finch (played by Will Pullen), and their friend Dill Harris (played by Gideon Glick) questioning how someone can die from falling on their knife.  This debate takes them back and forces a close review of the events that took place the summer of 1934 in Maycomb, Alabama, when their father, Atticus Finch (played by Jeff Daniels) was appointed by Judge Taylor (played by Dakin Matthews) to defend Tom Robbins (played by Gbenga Akinnagbe) for the rape and beating of Mayella Ewell (played by Erin Wilhelmi).  The trial is interspersed throughout the telling of the story while the close relationships of the Finch family are revealed.  The outraged community response to Atticus’ defense strategies are threatening to the family’s safety.

Jeff Daniels & Gbenga Akkinnagbe
Photo courtesy of To Kill a Mockingbird

Celia Keenan-Bolger, Will Pullen, and Gideon Glick narrate the transitions of the story.  Their chemistry and timing are flawless.  They are genuine and truthful.  Their growth from innocence toward adulthood is clear and endearing.  Jeff Daniel’s makes the iconic role of Atticus Finch authentically his own.  He creates a multi-dimensional father whose primary focus is to instill a sense of decency and integrity in his children.  His character is real, human, flawed, and straightforward.

There are numerous reasons why Harper Lee’s To Kill a Mockingbird won a Pulitzer Prize in 1960 and has become one of the most well-known and well-loved American classics.  This production not only captures all of those reasons, but deepens the level of understanding in Ms. Lee’s themes and compassionate point of view.

Domenick Danza

Oslo

Oslo

The Vivian Beaumont Theatre

April 8, 2017

Photo courtesy of Lincoln Center Theatre

Oslo is the untold story of the painstaking journey toward the 1993 Middle East peace agreement.  The play masterfully reveals the process by which representatives from Israel and the PLO  were able to see past their differences in order to stay in the present and change the future.  Playwright J.T. Rogers states in the program notes that “Oslo is the story of a hidden history that lies behind a public history.  But to be clear, it is my version of this story.  The events in the play all happened, but locations have been condensed and the chronology of events has been compressed… Though every character in this play is named for a real person, the words they say are mine.” 

Photo courtesy of Lincoln Center Theatre

As the United States led peace conferences between the PLO and Israel moved along unsuccessfully, Norwegian sociologist Terje Rod-Larsen (played by Jefferson May) holds a strong belief that if his negotiation strategies could be applied, they would succeed.  He works closely with his wife, Mona Juul (played by Jennifer Ehle) to arrange an “unofficial” meeting between representatives from the rival entities in their home city of Oslo, Norway.  When the men come together, they admit that they have never spoken to their enemy face to face.  The initial meeting is highly successful, and leads to a second and third.  Through Terje Rod-Larsen’s negotiation strategies, they build trust.  As the stakes get higher, their trust is tested, yet their mutual and desperate desire for peace keeps them dedicated to moving forward. 

Photo courtesy of Lincoln Center Theatre

Even though the ending of the play is historic fact, J.T. Rogers script keeps you riveted as to how the characters are going to achieve their goal.  His scenes are full of heated debate driven by deep-seated emotion.  His characters are a blend of truth and stereotype, full of charm, determination, and passion.  Director Bartlett Sher molds this masterwork by building tension and suspense, then turning it into playful banter that explodes into serious discourse and eventual agreement.

Photo courtesy of Lincoln Center Theatre

The tight collaboration between playwright and director allows the multitude of detail in this complex historic struggle to unfold clearly and concisely.  The true genius of the piece is how the dramatic thread pulling the action together and moving it forward are the characters of Terje Rod-Larsen and his wife, Mona Juul.  While all the characters are unified in their striving for a peace and a future for their families, the determination of these two characters goes unaddressed.  Their belief in the power of negotiation process and how it must be unobstructed by favoritism and special interest is verified by the outcome.  The ending of the play offers hope for those who choose to see it, believe in it, and utilize it.

Seeing Oslo is a MUST!  It is playing at the Vivien Beaumont Theatre in Lincoln Center.  The cast is superb.  The production is stupendous. 

Domenick Danza

Fiddler on the Roof

Fiddler on the Roof

The Broadway Theatre

June 11, 2016

Photo courtesy of Fiddler on the Roof

The revival of Fiddler on the Roof currently running at The Broadway Theater is magnificent!  How can one of the most profound musicals ever written interpreted by visionary director Bartlett Sher be anything less?  I can’t be, so when it is peppered with the lustful choreography of Hofesh Shechter and performed by a phenomenal cast, it becomes an exceptional work of theatre that should not be missed.  Every moment in this production is genuine and full of hope and humanity.

Danny Burstein makes the role of Tevye his own.  His timing and vocal qualities are like no other interpretation.  His Tevye is an everyman - simple, hardworking, flawed, struggling to live with dignity, and balancing his beliefs in a changing world.  Every one of his gestures reveals his deeper needs.  His vocal intonations expose his exasperation and softer side.  He proficiently connect one moment to the next to create an identifiable character who is both respectful and respected.  Jessica Hecht does the same with the role of Golda.  She forcefully plays a stern wife and mother with a tender understanding and soft heart.  She falls to the floor with grief, then stands strong to complete her daily chores.  Together they portray how a traditional lifestyle is built, which includes a significant amount of flexibility, persistence, and foolery.

Melanie Moore, Alexandra Silber, & Samantha Massell
Photo courtesy of Fiddler on the Roof

Alexandra Silber (as Tzeitel) and Adam Kantor (as Motel) are magical together.  Samantha Massell (as Hodel) and Ben Rappaport (as Perchik) set the stage on fire.  Melanie Moore (as Chava) and Nick Rehberger (as Fyedka) are idealistic, willful, intelligent, and passionate.

Director Bartlett Sher delivers a production where everyone on stage viscerally understands the needs of the villagers of Anatevka.  They address one another directly and austerely, with no sense of apology.  They literally clutch and cling to one another, as they do to their beliefs.  That is truly all they have and what they know to value.  Hofesh Shechter’s choreography is the true highlight of the show.  Every stomp and footstep connects to and comes deeply from the earth.  Every shoulder shake and arm raise reaches longingly to God.  The zest for life of the characters is expressed and portrayed through the way they gesticulate, spin and pulsate.  Even as they depart Anatevka, they stomp and reach, signifying the longevity of their existence.

Danny Burstein as Tevye
Photo courtesy of Fiddler on the Roof

At the start of the prologue, the image of the fiddler rises up from the floor of the stage and disappears into the fly space.  At the end of the prologue, he floats through the air wearing a purple coat, depicting the images from the well-known Chagall paintings.  This is an inspired production that must be experienced.  It will re-inforce your value of life.  L’Chaim!

Domenick Danza