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

A Parallelogram

A Parallelogram

Second Stage Theater

Tony Kiser Theater

August 18, 2017

 

Photo courtesy of Second Stage Theater

In his play A Parallelogram, Bruce Norris asks the questions: If you are able to go back and live your life over again, knowing how it will turn out, would you do it?  There are a lot of complex issues to contemplate in a decision like this.  His play, while delivering a lot of laughs, considers them all, and also looks at the probability of affecting a different outcome if you have the courage to change your actions.

Bee (played by Celia Keenan-Bolger) is in the middle of a heated discussion with her boyfriend Jay (played by Stephen Kunken), when the woman she met at the grocery store earlier that day (played by Anita Gillette) pushes a button on her remote and rewinds the scene so Bee can relive it.  She does this a few times until Bee is satisfied with her participation in the discussion.  The woman explains to Bee the science behind the phenomenon.  She then reveals to the audience that she is from the future, when most of the population of the world dies off from a mysterious illness.  She does not.  She is Bee in the future.  She is able to tell Bee the outcome of her experiences.  The remote (a parallelogram) offers Bee the opportunity to move backwards and forwards in time to assess her choices and possible change her behavior.  Will any of this effect the final outcome?

Photo courtesy of Second Stage Theater

Celia Keenan-Bolger portrays Bee rationally and logically, allowing for the transitions in time to be realistic and believable.  Her character is driven by and inquisitive desire to understand how her actions can improve the future.  She challenges the rules of the parallelogram as set up by her older self, and keeps the action flowing forward with her determination.  Anita Gillette is beguiling, direct, and funny as Bee's older self.  Her monologues are full of information needed to understand the context of the story.  She delivers them with charm, energy and delight, keeping the audience engaged as the complex layers of the story unfold.  Since Bee’s boyfriend is not in the know of the phenomenon, Stephen Kunken plays Jay as the straight man for most of the jokes, setting up and following through with the situational humor keenly established by Ms. Bolger and Ms. Gillette.  He does not miss a beat.  His comic timing and physicality is spot on.

Celia Keenan-Bolger & Anita Gillette
Photo courtesy of Second Stage Theater

The set, designed by Rachel Hauck, is a realistic rendition of two interior locations.  What makes it spectacular is the way they move into place.  At the push of a button, the stage right and left walls smoothly spin and the upstage wall moves forward, then back again.  This, along with lighting design by Kenneth Posner and sound design by Matt Tierney, creates the swift flow the story line requires in order to be credible and engaging. 

Mr. Norris’ play is very well constructed and keeps you thinking throughout.  The direction by Michael Greif keeps the action tightly focused on the details that make the show work.  The Second Stage Theater production of A Parallelogram is closing on August 20.  Their upcoming season looks great.  Check out their website for details. 

Domenick Danza

The Cherry Orchard

The Cherry Orchard

Roundabout Theatre Company

American Airlines Theatre

September 23, 2016

Photo courtesy of Roundabout Theatre Company

Stephen Karam’s new adaptation of The Cherry Orchard, presently in previews at Roundabout Theatre Company, is spectacular.  Mr. Karam brings Chekhov’s masterpiece into the 21^st century, making clear the economic class changes in Russia in 1904.  Director Simon Godwin highlights moments for each character that range from heartwarming to victorious to tragic.  Together this partnership takes the audience on a journey deep within their own fears, resistances, and futures.  They create a final act that is pertinent to present day class struggles. 

The Andreyevich family is facing bankruptcy.  Their estate, which includes their most valued cherry orchard, is soon to be auctioned off to pay their debts.  Ranevskaya (played by Diane Lane) returns from Paris in an attempt to unite with her family in saving the cherry orchard.  They face the monumental challenges that come with an unwillingness to accept their economic collapse and present circumstances.

Diane Lane & Harold Perrineau
Photo courtesy of Roundabout Theatre Company

Harold Perrineau is encouraging and confident as Lopakhin, whose father and grandfather were serf (slaves), once owned by the Andreyevich family.  The parallels of Tsar Alexander II’s Emancipation Reform of 1861 to Abraham Lincoln’s Emancipation Proclamation in 1863 are clear and effective.  Lopakhin’s sense of empowerment is victorious when he purchases the cherry orchard at auction.  It is a severely jubilant moment that packs a mighty punch to the Andreyevich family.  Mr. Perrineau’s portrayal is authentic and truthful. 

Led by Diane Lane, the entire cast is outstanding.  She is revered, tender, and stoic as Ranevskaya.  Ms. Lane carries the grandeur of her character’s past as a protection from the future.  Her sense of hope and belief is powerful, and her loss and grief are devastating.  John Glover is charming, silly, and strong as her brother, Gaev.  The naiveté of his character brings levity to the seriousness of the family’s situation, which magnifies their downfall.  Joel Grey is sad and touching as Firs, the aging butler.  His grasp of the old ways is potent and eerie.  His timing and humor are endearing, illustrating a warm view of the family’s obsolete lifestyle.  There are also strong performances by Chuck Cooper, Tavi Gevinson, Celia Keenan-Bolger, Kyle Beltran, Tina Benko, Susannah Flood, and Quinn Mattfeld. 

The set design by Scott Pask is brilliant.  His powerful images and choices of symbols conjure broad emotions that force the audience to delve into their imagination.  This is further enhanced by the lighting design of Donald Holder.  Michael Krass’ costume designs span centuries, thus pushing the perspective into the present.  Together these designers make the family’s loss and reluctant acceptance of change a valid occurrence to a present day audience.

Celia Keenan-Bolger, Diane lane, Tavi Gevinson, & Kyle Beltran
Photo courtesy of Roundabout Theatre Company

This production is not to be missed.  Chekhov’s complex characters and deeply emotional play is relevant and alive in Mr. Karam’s new version.  The Cherry Orchard runs at the American Airlines Theatre through December 4.

Domenick Danza