Misery

Misery

Broadhurst Theatre

February 7, 2016

Photo courtesy of Misery 

Misery has been one of my “must sees” this season.  With its limited run quickly coming to an end, I resigned myself to the fact that I was probably not going to get to see it.  A little push to the TKTS booth in Time Square for a Sunday matinee was all I needed.  It was well worth the wait.  The production was as funny and suspenseful as I hoped.

Laurie Metcalf did not disappoint as Annie Wilkes, the role that won Kathy Bates an Academy Award and a Golden Globe in 1990.  She truly made the role her own.  She was likeable and caring at first, then gradually revealed her darker and more gruesome sides in smooth, justifiable transitions.  Making his Broadway debut, Bruce Willis maintained a strong presence as Paul Sheldon.  His character remained calm and rational in the face of life threatening danger.  There were a few jarring and terrifying moments that, even though expected, were highly effective.

Bruce Willis & Laurie Metcalf
Photo courtesy of Misery

Playwright William Goldman, who also adapted the movie version from the Stephen King novel, created a concise ninety-minute, three character version of this gripping tale that was entertaining and frightening.  David Korins’ turn table set design created a sense of entrapment while also allowing for location changes.  The lighting (by David Weiner), sound design (by Darron L, West), and original music (by Michael Friedman) established a clear time line and further developed the mystery and suspense that enhanced Mr. Goldman’s compact script.

Photo courtesy of Misery

The most humorous and effective moment was in the final scene when Paul Sheldon crosses to a microphone on stage to speak about the release for his new book.  The audience applauded and cheered for Bruce Willis, which was the perfect response his character would have received from an audience attending his speech.  The only weak spot was the climactic fight scene where Paul Sheldon overtakes Annie Wilkes.  Its lack of intensity could have been due to its brevity, the actors being off their timing, or a little of both. 

If you have not yet seen Misery, there’s still time.  It closes on February 14.  You have a good chance of getting a discount ticket on TKTS in Times Square.  What are you waiting for?

Domenick Danza

Permission

Permission

MCC Theatre

Lucille Lortel Theatre

June 6, 2015

Photo courtesy of MCC Theatre

Permission, MCC Theatre’s production of Robert Askins new play, did not deliver the bang I had expected.  Perhaps it was that Mr. Askins’ Hand to God was so ingenious that my hopes were too high.  Perhaps the performances lacked the timing and chemistry to deliver the laughs and punch the script deserved.  Perhaps the director did not have the insight to the deeper levels or rhythms of the script. Yes, to all of the above.

When Eric (Justin Bartha) and his wife Cynthia (Elizabeth Reaser) accidentally walk in on their friend Zach (Lucas Near-Verbrugghe) spanking his wife Michelle (Nicole Lowrence), they don’t know what to think.  They quickly exit the dinner party and plan not to speak of the incident.  Zach meets up with Eric the next day and explains that he spanks his wife for Jesus.  It is part of CDD (Christian Domestic Discipline) which, through the power of God, allows couples to become the best they can be.  Eric and Cynthia try it and, thanks to the grace of God, their lives become empowered and productive… until it all comes back to bite them in the ass (pun intended).

Photo courtesy of MCC Theatre

The first act is relatively short as the premise of the play is established.  Mr. Askins delivers an Act II with a few twists and reveals that make the play worthwhile.  Director Alex Timbers finds the timing in the final scene that builds the action to the point where the main couple, Eric and Cynthia, is able to take a realistic look at their relationship.  Unfortunately, that sharp timing was missing from the earlier parts of the show.

The set, designed by David Korins, transformed the small space at the Lucille Lortel Theatre into six different realistic locations.  Each set was quickly changed, revealed, and smoothly rolled downstage as David Weiner’s lighting and M. L. Dogg’s sound design kept the transitions delightful.  Well done gentlemen!

Photo courtesy of MCC Theatre

Robert Askins is a playwright who pushes the envelope.  It is possible that this is too strong a conclusion to draw since I have only seen two of his plays, but they both did that so well.  The dramatic question in Permission is about discipline, how far is too far, and who really holds the power.  Even though the driving forces behind the behavior in this play were not as deep and dark as in Hand to God, he is still the playwright to watch. 

Domenick Danza

Guards at the Taj

Guards at the Taj

Atlantic Theater Company

Linda Gross Theater

May 24, 2015

Photo courtesy of Atlantic Theater Company

Can there be only one most beautiful thing in the world?  Can the creation of beauty become extinct?  What is beauty?  These are some of the thematic questions addressed by playwright Rajiv Joseph in Guards at the Taj now playing at Atlantic Theater Company.  This play will make you laugh, and cringe… and ponder beauty.

Humayun and Babur, two of the Emperor’s guards at the Taj Mahal in 1648, are among the first to see the newly completed mausoleum at first light.  They behold this MOST beautiful creation, a monument never to be exceeded in beauty.  They then journey to a blood drenched dungeon, where they face their darkest nightmare and come out with different appreciations of the truth.  Omar Metwally (Humayun) and Arian Moayed (Babur) each develops a unique and realistic character.  Together they create a relatable bond of friendship and adventure.

Arian Moayed, Rajiv Joseph, & Omar Metwally
at the Taj Mahal (Agra, India)
Photo courtesy of Atlantic Theater Company

The script by Rajiv Joseph, well known for his BengalTiger at the Baghdad Zoo (a 2010 finalist for the Pulitzer Prize), spans a broad range of topic as it focuses in on its main theme (the essence and creation of beauty) through the heartfelt comradery of the two characters.  It is profoundly, yet simply, directed by Amy Morton. 

The set is a brutal structure that weighs heavily on the space.  Ingeniously designed by Timothy R. Mackabee, it is realistic, powerful, and alive.  The moments of beauty the script refers to are illuminated by David Weiner’s amazing lighting.  The brightness contrasts the heaviness of the set to create spectacular moments that stand out in the characters’ perspectives.

Guards at the Taj runs through June 28 at Atlantic Theater Company’s Linda Gross Theater.  Put your thinking cap on and ponder the beauty of this piece of theatre.

Domenick Danza