Appropriate

 Appropriate
Belasco Theatre
March 28, 2024 

Photo courtesy of Appropriate

Branden Jacobs-Jenkins’ Appropriate is a phenomenal piece of theatre.  The focus of the story is a highly dysfunctional family facing their truths.  The deeper theme of inescapable heritage that underlines the action is highly impactful.  Director Lila Neugebauer boldly guides this cast through a roller coaster of emotion with truthful high points that trigger a downfall into fear and denial.  These characters are real and identifiable.  Their needs are viscerally understood.  Their desperation is palpable. 

The year is 2011.  Franz (played by Michael Esper) climbs through the window of his recently deceased father’s plantation home in Arkansas with his girlfriend, River (played by Ella Beatty).  They don’t think anyone is there, however, Franz’s sister, Toni (played by Sarah Paulson), and her son, Rhys (played by Graham Campbell), arrived a few days earlier to get ready for the estate sale.  Toni is not happy to see Franz, who has changed his name from Frank.  They have not seen one another in ten years.  No one was able to contact Franz/Frank to inform him of his father’s death, so Toni is very suspicious of his presence.  When their brother, Bo (played by Corey Stoll), arrives the next morning with his family, River pushes Franz to do what he came to do.  As part of his recovery, he needs to make amends to Bo and Toni.  Toni will have no part of it, yet Bo is open to forgiving and moving on.  Bo’s young son, Aisley (played by Lincoln Cohen), finds a photo album while helping to clean out his grandfather’s study.  When Bo’s wife, Rachel (played by Natalie Gold), looks closely at the photos, she is shocked.  A box of souvenirs is discovered in the study that provides serious evidence to a deep family secret. 

Michael Esper, Corey Stoll, & Sarah Paulson
Photo courtesy od Appropriate

Sarah Paulson is a firestorm as Toni.  Her resentment and pain fuel the action for the duration of the story.  She is equally matched by Corey Stoll, Natalie Gold, and Michael Esper.  They brilliantly portray a genuine, deep seeded family dynamic.       

Branden Jacobs-Jenkins has crafted a play with numerous, rich layers.  While the characters are in the middle of heightened sibling conflict brought on by the grief of their father’s recent passing and the stress of settling a large estate in high debt, they discover a horrifying truth in their heritage.  They don’t know how to handle it, so they continue to blame and fight.  It is their only outlet.  This action accelerates to the point of no return, and they wonder where all the hate and aggression comes from.  No matter how much they try to deny it or cut themselves off, they cannot escape their inheritance.  It is fully evident in their dialogue and behavior.  When they leave, it is clear they will most likely never see one another again, yet the plantation house is another story.  Time quickly moves forward to 2024, and the abandoned house still stands, festering in that energy that will survive them all. 

Photo courtesy of Appropriate

Appropriate was originally produced by Second Stage Theater, and had a successful run at the Hayes Theatre.  It is now playing at the Belasco Theatre through June 23.  It is a MUST SEE!

 

Domenick Danza

The Waverly Gallery

The Waverly Gallery

Golden Theatre

September 29, 2018

Photo courtesy of The Waverly Gallery

Kenneth Lonergan’s new play, The Waverly Gallery, is a heartbreaking glimpse into the effect Alzheimer’s has on a family.  The many layers of this serious affliction are explored in each character of the family unit.  Director Lila Neugebauer allows the space for each actor in the brilliant cast to discover the core of their emotional journey.  Each point of view offers a wide range of audience member the opportunity for an individual relatable experience.

Gladys Green (played by Elaine May) has run a small art gallery in Greenwich Village for decades.  It is now 1989, and her ability to independently care for herself is changing as fast as the neighborhood.  Her grandson, Daniel (played by Lucas Hedges), moved into the apartment behind hers.  Her daughter, Ellen (played by Joan Allen), is regrettably aware that there will soon come a time when Gladys will need to move in with her and her husband (played by David Cromer) on the upper West Side.  Gladys befriends a young artist, Don Bowman (played by Michael Cera) and agrees to sponsor a showing of his painting in her gallery.  Along with the sparingly attended opening comes the news that the landlord is evicting Gladys from the gallery.  The family falls into crisis mode as they face the downward spiral of Gladys’ mental health and the inevitable need for drastic changes in her life style. 

Elaine May, Michael Cera, & Lucas Hedges
Photo courtesy of The Waverly Gallery

Elaine May is warm and likable as Gladys.  During the course of the play, we experience the gradual decline in her mental well-being.  Her vibrancy falters and her ability to maintain a conversation diminishes.  Early on in the play Ms. May draws the audience so close to the caring and generous nature of her character that we cannot help but feel for her.  Lucas Hedges directly addresses the audience at times, so we view the story through his perspective.  His character’s closeness to his grandmother is compromised by the frustration brought on by her condition, yet he never loses the bond they share.  His closing monologue is skillfully delivered, showing the truthful and brutal effect this experience has had on his character.

Joan Allen portrays Gladys’ daughter Ellen as impatient and angry.  There is callousness in the way her character speaks about Gladys as if she is not in the room.  In a short scene in Act II, Ms. Allen shows a glimpse of the strength and courage Ellen will find to unconditionally care for her mother in her time of greatest need.  This moment is then followed by the closing monologue by Mr. Hedges, completing the journey of this family through their crisis and into compassion.

The Waverly Gallery is running on Broadway at the Golden Theatre.  It is a deeply cathartic experience.  Be sure to see it.

Domenick Danza

Peace for Mary Frances

Peace for Mary Frances

The New Group

The Pershing Square Signature Center

June 16, 2018

Photo courtesy of The New Group

Lily Thorne’s play, Peace for Mary Frances, chronicles the end of life journey and the toll it takes on a family.  The New Group production is sensitive and realistic.  Director Lila Neugebauer builds on the conflict in the family dynamic that is deeply embedded in Ms. Thorne’s complex characters.  Secrets are revealed and emotions collide, yet the main character finds her peace.

Mary Frances (played by Lois Smith) is nearing ninety years of age and requires oxygen and constant care, which she receives from her daughter, Fanny (played by Johanna Day).  Her other daughter, Alice (played by J. Smith-Cameron) believes that Fanny is incapable of caring for their mother.  When the doctor finds fluid in her lungs, Mary Frances, who wishes to pass peacefully in her sleep, chooses hospice care.  Alice convinces her mother to pay her living expenses so she can move in and supervise her care around the clock.  Their brother, Eddie (played by Paul Lazar), visits once a week to maintain his mother’s finances.  His sisters are angered when they find out their mother has been paying him to do this.  Adding to the stress of the situation is the presence of Alice’s two adult daughters (played by Heather Burns and Natalie Gold).  Their memories of their grandmother are loving, which differs from the angst in the relationship between Mary Frances and her daughters.  Mary Frances has visions of her dead husband, mother, and father-in-law as she makes her peace, yet she leaves behind a family in turmoil.

Lois Smith & J. Smith-Cameron
Photo courtesy of The New Group

The play has a slow and steady pace, especially in the second act.  Fueling the action is the conflict between the two sisters.  J. Smith-Cameron and Johanna Day go at each other full force in these roles.  The history of their relationship and the stress of the situation cause their emotions to flare up in an instant.  Their portrayal of this vulnerability is truthful and genuine.  Lois Smith is warm, brave, and gutsy as Mary Frances.  The way she treats her children reflects a lifetime of experiences and forgiveness, but includes, as she says, never forgetting.  She embraces her grandchildren and looks longingly into the eyes of her great grandbaby, maintaining a connection to life up to the very end.

Johanna Day, J. Smith-Cameron, & Heather Burns
Photo courtesy of The New Group

The set, designed by Dane Laffrey, is a split level masterpiece, showing the living room, kitchen, and back porch on stage right, and Mary France’s bedroom about a half a flight up on stage left.  It is constructed as if one wall of the house opened up so the audience could peer in on this family in crisis.  Lighting designer Tyler Micoleau makes brilliant use of track lighting, chandeliers, and table lamps to enhance the realism and sense of peeking in on the lives of the characters.

Lily Thorne’s play successfully reveals the stark truths of facing the end of life, its stress, fears, and deeply embedded emotion.  Peace for Mary Frances closed on June 17. 

Domenick Danza

Everybody

Everybody

Signature Theatre

The Pershing Square Signature Center

February 18, 2017

Photo courtesy of Signature Theatre

Branden Jacobs-Jenkins’ new Play, Everybody, is based on the 15th century morality play Everyman.  Lila Neugebauer’s direction has truly raised the bar.  Her broad strokes are only exceeded by her eye for effective detail.  The passionate and remarkable partnership between her and Mr. Jacob-Jenkins has created a brilliant and clear present day mortality experience.  The concept successfully breaks the fourth wall in surprising ways that absorb each audience member, creating a true journey for everybody. 

Photo courtesy of Signature Theatre

God (played by Jocelyn Bioh) calls on Death (Marylouise Burke) to request a presentation from Everybody, holding them accountable for their experiences during their time on Earth.  When Everybody asks Death if they can bring along a companion to assist in making a successful presentation, Death agrees.  Who will accompany Everybody on this journey of no return?  What evidence can Everybody collect for the presentation that has value, weight, and meaning?

The Playwright, Director, and Cast in Rehearsal
Photo courtesy of Signature Theatre

The ensemble cast (Brooke Bloom, Michael Braun, Louis Cancelmi, David Patrick Kelly, and Lakisha Michelle May) play numerous roles that vary each night of the performance.  Their roles are assigned by a lottery at the beginning of the show.  The playwright and director’s intention in this is to have “some element of chance to be essential to the fabric of how this event functions, how the evening makes meaning.”  By doing this the “Everyman” character is not assigned to “a single actor, who necessarily has an age, a gender, a race, a sexual orientation.  Also the notion that death could strike any one of us at any moment” rings clear and true.  This skillful ensemble exceeds any expectation of this wild concept.  They create a relatable environment with honest moments and true relationships.  The timing of their dialogue and the depth of their connections are masterful, especially given the fact that they have each memorized practically the entire script.

Playwright Branden Jacobs-Jenkins
Photo courtesy of Signature Theatre

Scenic design by Laura Jellinek, lighting design by Matt Frey, and sound and original music by Brandon Wolcott meld seamlessly to place the audience in the center of the action.  Signature Theatre’s production of Everybody runs at The Pershing Square Theatre Center through March 19.  It is unique and profound, and brilliantly achieves the purpose of the historic morality play for a modern day audience.

Domenick Danza