St. Joan

St. Joan

Manhattan Theatre Club

Samuel J. Friedman Theatre

April 21, 2018

Photo courtesy of Manhattan Theatre Club

Condola Rashad is starring in George Bernard Shaw’s St. Joan at Manhattan Theatre Club.  Ms. Rashad lights up the stage and reveals the vulnerable levels of this iconic character.  Her scenes passionately inspire others to take action and are then followed by truthful moments of emotional depth.  Scenic design by Scott Pask minimally creates a gothic atmosphere that effectively depicts 15^th century England and France.  Director Daniel Sullivan finds the rhythmic humor in Shaw’s writing and allows it to surface when it is most needed and appreciated.

Adam Chandler-Berat & Condola Rashad
Photo courtesy of Manhattan Theatre Club

The year is 1429 and France has been at war with England for 90 years.  The Dauphin (played by Adam Chandler-Berat) has not been able to be crowned King of France due to the surrender and slaughter of French troops by England’s army.  A peasant girl, Joan (played by Condola Rashad), presents herself to the Dauphin as the messenger of God with the power and the ability to take back the French territory.  Joan wins over the Dauphin, the Archbishop (played by John Glover), and Dunois (played by Daniel Sunjata), who assists her in attacking the English army.  They are victorious and the Dauphin is subsequently crowned King Charles VII.  England captures Joan as she tries to win back Paris.  The Church finds her guilty of heresy.  Almost five hundred years later, she is canonized a saint by the same Church that burned her as a heretic.

Photo courtesy of Manhattan Theatre Club

There are strong performances by John Glover, Adam Chandler-Berat, Daniel Sunjata, and a full cast of commanding Broadway actors.  The scenes between the royal courts of England, France, and the Church are full of conflict as they debate Joan’s voices, actions, and victories.  They need to categorize her as a traitor, soldier, witch, or heretic in order to justify her capture and execution.  These scenes clearly define the risk involved in her taking action and propel the plot forward by revealing the political dangers, yet through them I found myself waiting for Condola Rashad’s next entrance.  Naturally, the actor cast in the role of Joan needs to carry the show, and Ms. Rashad is truly captivating.  She delivers a majestic and powerful performance.  

Condola Rashad as St. Joan
Photo courtesy of Manhattan Theatre Club

The final scene of George Bernard Shaw’s play takes place twenty-five years after Joan’s death when she is acquitted of her conviction of heresy in a posthumous retrial.  In this scene the characters who either followed or doubted Joan comment on the effect her presence had on their lives.  This is Mr. Shaw’s finest scene of the play.  It offers a chance for the audience to reflect on the historic and religious accounts in his writing.  Because of this scene the audience leaves with a more personal and impactful understanding of the significant facts and spiritual beliefs.

St. Joan is playing at the Samuel J. Friedman Theatre through June 10.  Condola Rashad’s performance is not to be missed.

Domenick Danza

Fire and Air

Fire and Air

Classic Stage Company

February 16, 2018

Photo courtesy of Classic Stage Company

In Fire and Air, playwright Terrance McNally tells the passionate story of the relationship between Sergei Pavlovich Diaghilev and Vaslav Nijinsky during the years of the Ballet Russes.  The Classic Stage Company production is designed and directed by John Doyle, who masterfully interprets Mr. McNally’s brilliantly crafted play about these complex and truthful characters.  The cast is strong and bold.  The story is accurately told.

Photo courtesy of Classic Stage Company

Sergei Diaghilev (played by Douglas Hodge) spots a young Vaslav Nijinsky (played by James Cusati-Moyer) during a performance.  Diaghilev nurtures and molds him into one of the greatest ballet dancers of the 20^th century.  Diaghilev’s passion and vision for creating a new form of Russian ballet with his company, Ballet Russes, is matched only by his obsession for his new protégé.  When the company has financial trouble, Diaghilev turns to his cousin Dmitry “Dima” Filosofov (played by John Glover) to help him with the finances.  He and Dunya, Diaghilev’s nurse since childhood (played by Marsha Mason), provide emotional support for Diaghilev when Nijinsky marries Romola de Pulszky, a dancer in the corps de ballet.  Diaghilev dismisses Nijinsky and turns his attention to Leonid Massine (played by Jay Armstrong Johnson), another young dancer in his company, yet he is never able to let go of his deep feelings of love and obsession for Nijinsky.

Douglas Hodge & James Cusati-Moyer
Photo courtesy of Classic Stage Company

Douglas Hodge creates a giant with his portrayal of Diaghilev.  He is exuberant, flamboyant, and larger than life.  His character’s passion for creating art thunders from deep within his soul and vibrates throughout the theater.  His deep need for love, attention, and admiration pervades his every action.  James Cusati-Moyer is mysterious and cunning as Nijinsky.  He has a commanding physicality and a fiery presence.  Together these two actors honestly portray a tumultuous relationship that is based on need and longing.  Their distance magnifies their attraction.  Their aspirations are magnetic.

Photo courtesy of Classic Stage Company

John Glover is glorious as Dima.  Marsha Mason is solid and grounded as Dunya.  Their portrayals of the lifelong relationships to Diaghiliev create a sense of family that frames his boldness with a sense of reality, candor, and care.  Jay Armstrong Johnson creates a naive youth in the character of Leonid Massine that is an excellent juxtaposition to Nijinsky’s understanding of the control, exploitation, and abuse that Diaghilev is capable of.

The story of Diaghiliev, Nijinsky, and the Ballet Russes has been written about and told numerous times and in various media.  Terrance McNally’s rendition of the story is clear, concise, and emotionally driven.  It gives us pause to reconsider the value of art in our society.  John Doyle’s vision for the play is beautifully executed.  The cast is truly amazing.  Fire and Air is running at Classic Stage Company through March 2.  Check it out! 

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