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

Ripcord

Ripcord

Manhattan Theatre Club

New York City Center Stage I

October 3, 2015

Photo courtesy of
Manhattan Theatre Club

Ripcord, a new comedy written by David Lindsay-Abaire, is now playing at Manhattan Theatre Club’s New York City Center Stage I.  The production is witty and charming.  The script is lighthearted, touching, frivolous, and sincere.  The cast is crisp and the directing is clean. 

Abby (played by Holland Taylor) has a new roommate at the Bristol Place Assisted Living Facility.  She is energetic, cheery, and optimistic, and Abby wants her out.  Marilyn (played by Marylouise Burke), the new roommate, is comfortable with Abby’s company and happy with the bright sunlight in her new room.  She has no intention of leaving.  They make a bet.  If Abby can make Marilyn angry, she gets the room to herself.  If Marilyn can break Abby’s hard outer shell and scare her, she gets the bed closer to the window.  Both women are stubbornly determined and ruthlessly pull out all stops to win. 

David Hyde Pierce, Holland Taylor, Marylouise Burke,
and David Lindsay-Abaire
Photo courtesy of Manhattan Theatre Club

Holland Taylor and Marylouise Burke are well matched.  Their chemistry and timing are perfect.  This is not a surprise since the play is directed by David Hyde Pierce.  Amid the comedic antics, both characters experience sincere moments of emotion that offer glimpses into the deeper truths of their characters.  David Lindsay-Abaire skillfully develops these details in the later part of the play.  This is what makes this lighthearted comedy a rarity.  The kookiness, absurdity, and bitchiness in the writing are superseded by the warmth and emotional healing that only comes from true human contact.

Cast members Rachel Dratch, Glenn Fitzgerald, Daoud Heidami, and Nate Miller are honest and funny.  Their performances heighten the impact of the play’s themes and comic timing.  The set, designed by Alexander Dodge, is full of surprises with quick changes that open the space in ways you do not expect.  The lighting, by Peter Kaczorowsky, effectively shifts the focus and mood of each scene.

Ripcord is a truly enjoyable evening at the theatre.  David Lindsay-Abaire succeeds at making us laugh at the challenging behavior of the two main characters and see ourselves in their fear, frailty, and humanity.

Domenick Danza