Eureka Day

 Eureka Day
Manhattan Theatre Club
The Samuel J. Friedman Theatre
January 4, 2025 

Photo courtesy of Manhattan Theatre Club

Jonathan Spector’s new play, Eureka Day, is full of laughs… until you realize that the laugh is on us.  It’s easy to pick a side in a dispute or debate, but what do you do when there is no chance of resolution or compromise?  The play starts off in a simple, pleasant, and welcoming atmosphere.  When a health crisis occurs among a group of young children, that agreeable environment quickly transforms into a political hotbed.  No one is willing to bend in their belief.  Mr. Spector creates rich backstories for these characters to keep the conflict truthful.  Director Anna D. Shapiro works with a stellar cast to build the tension and shift the tone as the action progresses.  

Eureka Day is a progressive private elementary school on the east coast.  Their executive board of parent volunteers meets regularly to maintain inclusivity and provide clear communicate to members of the school community.  The main governing rule for the committee is that full consensus is needed to change any school policy.  Don (played by Bill Irwin) guides the committee through every discussion, making sure all members voice their points of view.  Because of this, committee discussions tend to be lengthy.  Suzanne (played by Jessica Hecht) welcomes the newest member to the committee, Carina (played by Amber Gray), whose son is new to the school.  The more Suzanne invites Carina to participate, the more she cuts her off.  When an outbreak of mumps runs through the school, the unvaccinated daughter of Meiko (played by Chelsea Yakura-Kurtz) becomes ill.  Meiko is romantically involved with another committee member, Eli (played by Thomas Middleditch).  Their time together allowed her daughter to unknowingly pass the illness to Eli’s son, whose vaccine was ineffective.  While the school is on temporary quarantine, the committee holds a zoom meeting to give parents of the school community a chance to discuss the situation.  All hell unexpectedly breaks loose.  A consensus on how to proceed is not possible.  Change needs to take place, yet no one is willing to budge. 

Amber Gray, Bill Irwin, & Chelsea Yakura-Kurts
Photo courtesy of Manhattan Theatre Club

This cast is phenomenal, creating broad humor out of politeness hesitation, and forced considertion.  It is clear what the characters intend to say, yet they never let themselves.  The comic timing in their holding back is impeccable.  They put great effort into establishing an environment of inclusivity and respect, but it is full of nothing more than projection, assumption, and judgement.  This effectively makes the situation comical.  The laughs build to a high crescendo during the zoom meeting, then the tone abruptly shifts when the dispute hits a wall.  The humor continues as the characters speak directly, but it becomes more biting.  The way they resolve the issue is a bit of a surprise, yet what is ahead for them will prove even more challenging. 

Eureka Day is playing at Manhattan Theatre Club’s Samuel J. Friedman Theatre.  It has been extended through February 2.  This play offers a unique opportunity to take a focused look at ourselves.  Go see it and find out how far you’re willing to go for your convictions.  

Domenick Danza

Letters from Max

 Letters from Max
Signature Theatre Company
The Griffin Theatre
The Pershing Square Signature Center
February 22, 2023 

Photo courtesy of Signature Theatre Company

Sarah Ruhl’s Letters from Max, now playing at Signature Theatre, is a heartwarming telling of the relationship between teacher and student that grows into a mutually supportive and creative camaraderie.  It is based on the book Ms. Ruhl wrote with Max Ritvo.  It contains their correspondence over a number of years and through challenging and painful times.  The production is simply and effectively conceived, driven by a combination of direct address and dialogue scenes that depict moments of genuine connection and admiration.  Director Kate Whoriskey sculpts this piece into an intimate journey through pain and fear into understanding, peace, and love.

Sarah (played by Jessica Hecht) first meets Max (played by Ben Edelman) when he attended her playwriting class at Yale.  She immediately notices his light and creativity.  Max, a poet and comic, who never wrote a play in his life, was in remission from pediatric cancer.  He and Sarah share emails, letters, and texts, discussing their creative perspectives.  They quickly bond.  When Max’s cancer returns, their correspondence takes on a more serious tone.  Sarah says that she often felt like the student.  Max was teaching her so much about life, and challenging her to see herself more clearly.  Max undergoes a number of trial treatments for his cancer, yet never loses his creative drive or stops writing.  

Ben Edelman & Jessica Hecht
Photo courtesy of Signature Theatre Company

Jessica Hecht is phenomenal in the role of Sarah.  Her heart is open from the first moment, and continues to expand throughout the action of the play.  Her connection with Ben Edelman (Max) is truthful and tangible.  Mr. Edelman’s character faces his mortality with courage and endurance, which is reflected back to him through the relationship he creates with Ms. Hecht’s character.  Their bond is genuine.  They welcome the audience into their story, yearning to share the experience. 

The discussions of life, death, and life after death in the letters are wise, caring, and hopeful.  The audience comes to conclusions along with the characters, as they share their stories and ponder their fates. 

Letters from Max is playing at the Griffin Theatre at the Pershing Square Signature Theatre Center through March 19.  Go see it!  It will do your heart some good. 

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