Himself & Nora

Himself & Nora

Minetta Lane Theatre

June 26, 2016

Photo Courtesy of Himself & Nora

Himself &Nora is a new musical about the love affair between James Joyce and Nora Barnacle.  With book, music, and lyrics written by Jonathan Brielle, the show poetically portrays the romance, passion, commitment, and emotional abuse in the long term relationship between these two individuals.  The two main actors are extraordinary.  The ensemble of three fills the stage with the presence and vocal power of a cast of twenty.  Director Michael Bush finds just the right the pace to create a seamless story that engages all the senses.  He allows this brilliant cast to develop their characters and build relationships that tells a story of longing, fervor, and devotion.

Matt Bogart as James Joyce
Photo courtesy of Himself & Nora

Matt Bogart embodies the character of James Joyce with commanding physicality.  He grows from an adolescent dreamer into a confident artist with astounding awareness of detail.  Whitney Bashor is powerful and bold as Nora.  Her presence demands attention when she enters in scene one, and keeps you riveted throughout the show.  It takes a strong actor to portray the woman who inspired James Joyce, was his true love, and tolerated his emotional distance and inflated sense of “himself.”  Ms. Bashor is perfectly cast to bring this amazing woman to the stage and match Mr. Bogart’s visceral interpretation.  Her singing is superb, as is Mr. Bogart’s.  These two actors ignite one another’s passion and yearning.  The story follows the characters’ exile from Ireland in hopes of escaping the restrictive weight of the Irish Catholic Church.  Together their journey takes them to Italy and Paris, where Joyce painstakingly develops his authentic writing style.

Lianne Marie Doss & Michael McCormick
Photo courtesy of Himself & Nora

The ensemble plays numerous roles including James Joyce’s parents, children, and publisher.  Zachary Prince is remarkable as the hometown Irish Priest, who is ever present, creating the inner conflict that haunts Joyce throughout his life.  Mr. Prince also delivers a touching portrayal of Joyce’s son, Giorgio.  Lianne Marie Dobbs is heartbreaking as Joyce’s daughter, Lucia, comical as Harriet Weaver, and energetic as determined publisher, Sylvia Beach.  Her range is phenomenal.  Michael McCormick is endearing and rough as Joyce’s father, and, just when the audience needs a laugh, is riotous as Ezra Pound.  These three actors physically and vocally create distinct, engaging characters and relationships.  They are skillfully versatile and keep the action of the play moving forward with tremendous verve.

Whitney Bashor & Matt Bogart
Photo courtesy of Himself & Nora

Scenic design, by Paul Tate dePoo III, is a unit set with moveable window frames, tables, chairs, and benches that serve numerous purposes.  Director Michael Bush utilizes these pieces to keep the flow of action seamless.  The design is simple, solid, and effective, and depicts the settings of Ireland, Italy, and Paris during the time period.  Lighting designer Jason Lyons skillfully enhances the setting with depth, warmth, and humor.

Himself & Nora is an amazing telling of “the greatest love story never told.”  It is playing at the Minetta Lane Theatre through September.  Go see it!  The cast is remarkable.  The score is unique and breathtaking.  The production is moving and inspiring.  It will make you want to read (or reread) Ulysses and give you a deeper understanding of The Portrait of the Artist as a Young Man.   

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

The Drilling Company's Summer Shakespeare Season

Much Ado About Nothing

Bryant Park

June 4, 2016

Photo courtesy of The Drilling Company

You know the summer is finally here when you find yourself sitting in Bryant Park watching the first production of The Drilling Company’s summer Shakespeare season.  Then it starts to rain.  Yes, the closing night performance of Much Ado About Nothing was rained out about half way through Act II.  The disappointment was high as everyone ran for cover because the production was magical.  Artistic Director Hamilton Clancy is the master of outdoor Shakespeare.  He is a skilled director with a keen insight for how to keep the pace moving, and a focused instinct for great casting. 

McKay Carpenter & Anwen Darcy
Photo courtesy of The Drilling Company

Before it started to rain, the stage was overflowing with enchantment and vitality.  Mary Linehan (as Hero) and Andrew Gombas (as Claudio) were a charming, romantic couple.  The chemistry between McKay Carpenter (as Benedict) and Anwen Darcy (as Beatrice) was fiery and dazzling.  Eric Paterniani’s physical characterization of Conrad was boldly inventive and humorous.  Michael Bernstein’s comic timing delivered a playful Borachio.  Drew Valins created a strong Don Pedro.  Brandon Reilly was charming and endearing as Don John. 

The rain might have prevented the last chance I had to see Much Ado About Nothing, but The Drilling Company has four additional productions coming up this summer.  As You Like It (July 21 - 23) and Measure for Measure (September 1 - 18) will be at Bryant Park.  This marks their third summer partnering with Bryant Park Presents.  Shakespeare in the Parking Lot will celebrate its 21^st year with A Midsummer Night’s Dream (July 7 – 24) and The Merchant of Venice (July 28 – August 14) at the Clemente Cultural Center parking lot (114 Norfolk Street).  All performances are FREE, and are sure to be great experiences.  Check out their website for performance times and details, and enjoy the best summer Shakespeare New York has to offer.  

 

Photo courtesy of The Drilling Company

Domenick Danza

The Father

The Father

Theatre for a New Audience

May 29, 2016

Photo courtesy of Theatre for a New Audience

Theatre for a New Audience is presently running Ibsen’s A Doll’s House and Strindberg’s The Father in rep at their downtown Brooklyn theatre.  The intention of this project is to illustrate these two classic playwrights’ opposing points of view over the battle of the sexes.  Under the bold and daring direction of Associate Artistic Director Arin Arbus, these two productions share the same superb cast.  The production of The Father is riveting.  Ms. Arbus strongly dramatizes Strindberg’s account of the manipulative and domineering role a woman can play in a marriage, and the overbearing control she can have over the family patriarch.

John Douglas Thompson
Photo courtesy of Theatre for a New Audience

The Captain (played by John Douglas Thompson) is fighting with his wife, Laura (played by Maggie Lacey), over what is best for their daughter, Bertha (played by Kimber Monroe).  When Laura, in a desperate attempt to win, puts into question Bertha’s paternity and her husband’s sanity, the outcome is devastating.

John Douglas Thompson delivers a stellar performance in the title role.  His character possesses strengths that make him a leader, and insecurities that make him vulnerable.  He blends these juxtaposed traits in a naturalistic way that allows the character to be identifiable and genuine.  Maggie Lacy is invincible as his wife, Laura.  She is determined and, at times, cruel, yet in the end reveals the honest motivations of her character, which makes her susceptible and empathetic.  Kimba Monroe is extraordinary as their daughter, Bertha.  She is a skilled, young actress with depth and honesty that seizes attention each moment she is on stage.  Other outstanding performances are Laurie Kennedy as Margaret, Nigel Gore as Doctor Ostermark, and Jesse J. Perez as the Pastor.

Maggie Lacey & John Douglas Thompson
Photo courtesy of Theatre for a New Audience

Theatre for a New Audience raises the bar for greatness with every production.  Their standards are high.  Their directors are brilliant.  Their casting is impeccable.  A Doll’s House and The Father run in rep through June 12.  Don’t miss out on this theatrical event. 

I have only seen “The Father,” and welcome comments from anyone who has seen this director’s interpretation of “A Doll’s House.”

Domenick Danza

The Judas Kiss

The Judas Kiss

BAM Harvey Theater

May 28, 2016

Photo courtesy of BAM Harvey Theatre

The Judas Kiss, starring Rupert Everett as Oscar Wilde, is presently playing at BAM Harvey Theater.  The play is written by David Hare and directed by Neil Armfield.  The first act takes place the afternoon before Oscar Wilde is arrested and tried for gross indecencies, and the second act takes place a few months after his release from serving his prison sentence.  The production is stunning.  The writing is prolific.  Rupert Everett and the cast are inspiring. 

The show is produced by Chichester Festival Theatre in association with Robert Fox, Theatre Royal Bath Productions, and Hampstead Theatre.  The set design, by Dale Ferguson, is lavish and simple, grand and stark.  Yes, these adjectives contradict one another, yet succinctly describe the skillfully crafted impact.  The lighting design, by Rick Fisher, is romantic and poignant.  The second act is dominated by an impactful shadow effect that brings clarity to the power struggle between Oscar Wilde and his two closer companions.  These bold and detailed designs play very well in the expansive stage of the Harvey Theater.

Rupert Everett as Oscar Wilde
Photo courtesy of BAM Harvey Tehatre

Rupert Everett skillfully portrays the complexity of Oscar Wilde with confidence and ease.  He creates a gentleman with great dignity, resolve, and deep belief in his talents and value as a poet.  As the second act progresses, his inner conflict is revealed and we understand why his demise is inescapable.

Cal MacAninch plays Robert Ross, one of Oscar Wilde’s closest friends.  The scenes between these two actors are riveting as both men cling to their principals in the face of turmoil.  In the first act Robert Ross implores Oscar to flee the country and escape into exile before his arrest, but Oscar Wilde holds firm.  In Act II he pleads with Oscar to stay true to the promise he made to his wife, but Oscar refuses.  Through these conflicts we gain a clear understanding of the social limitations, taboos, and expectations of the time period.  These two actors are brilliant together. 

Rupert Everett & Charlie Rowe
Photo courtesy of BAM Harvey Theatre

Charlie Rowe plays Lord Alfred Douglas (Bosie), with whom Oscar Wilde has an affair that brings about his arrest and trial.  The fire between these two men burns bright in Act I with passion and charm.  It burns even hotter in Act II with divergence and resentment.

The Judas Kiss is about love and betrayal.  It is a powerful and multilayered play that will keep you thinking long after it is over.  Just when you understand Oscar Wilde’s motives, playwright David Hare takes you deeper into the fears and loss of this great artist.  Neil Armfield’s masterful direction makes the profound themes easily accessible.  The play is in a limited run at BAM Harvey Theater.  It closes on June 12.  Don’t miss it!

   

Domenick Danza

Peer Gynt

Peer Gynt

Classic Stage Company

May 22, 2016

Photo courtesy of Classic Stage Company

Peer Gynt, Henrik Ibsen’s five act play written in verse and loosely based on a Norwegian fairy tale, is presently in production at Classic Stage Company.  Ibsen’s script is said to “blend poetry with social satire and realistic scenes with surreal ones.”  This holds true in this production, especially the social commentary, which rings relevant to our present day political dilemma.  Directed and adapted by John Doyle, these moments are strongly focused, yet he has omitted the depth and expanse of the main character’s experiences on his journey by diminished the show to a mere one hour and fifty minutes without an intermission. 

Peer Gynt (played by Gabriel Ebert) longs for greatness.  To be specific, he yearns to be emperor.  He rides a wild stag and steals the virginity of the bride of a fellow townsperson.  He gains wealth and dubs himself a prophet.  He is told he has become an emperor, but only of himself.  This achievement is not enough for him.  In the final moments he realizes he has not been true to himself, and is therefore not able to receive the rewards he desires.

Gabriel Ebert as Peer Gynt
Photo courtesy of Classic Stage Company

The actors (Gabriel Ebert, Quincy Tyler Bernstine, Becky Ann Baker, Adam Heller, Jane Pfitsch, Dylan Baker, and George Abud) all do an amazing job creating true characters whose objectives are clearly and realistically motivated.  The final section of the play (Act 5 from Ibsen’s script) is powerful and provocative, yet outweighs the surface skimming of the previous sections.  The most memorable scene is when Peer Gynt peels an onion trying to find the center.  He compares each of the layers to an experience he had on his journey.  When he realizes there is no center to the onion, only continual layers, he feels a sense of despair.  His response offers an understanding that he was searching for something deeper all along.  The production, however, lacks the heightened sense of adventure and visceral connection needed to make that moment, and others like it, compelling and meaningful.

Peer Gynt runs at ClassicStage Company thought June 16.

Domenick Danza

Cal in Camo

Cal in Camo

Rattlestick Playwrights Theater

May 14, 2016

Photo courtesy of Rattlestick Playwrights Theatre

Cal in Camo is a gripping play by William Francis Hoffman presently receiving its world premiere at Rattlestick Playwrights Theater.  The play explores the yearning for family and the struggle for connection.  The script is concisely written.  Adrienne Campbell-Holt’s direction is focused and emotionally driven.  The producing partnership of Colt Coeur and Rattlestick Playwrights Theater has ignited a fire with this play that touches a nerve. 

Katya Campbell & Paul Wesley
Photo courtesy of Rattlestick Playwrights Theatre

Cal (played by Katya Campbell) is a new mom who is having trouble bonding with her new born because she is unable to produce milk.  She convinced her salesman husband, Tim (played by David Harbour), to move to a housing development in the suburbs.  He is having difficulty gaining a foothold in his new territory.  Cal’s brother, Flynt (played by Paul Wesley), just lost his wife, and is coming to stay with them.  The stress of this visit could prove too much for Cal and Tim, yet Flynt’s simplistic view and insightful understanding of the forces of nature becomes a healing point of view for all of them.

Paul Wesley & David Harbour
Photo courtesy of Rattlestick Playwrights Theatre

Katya Campbell’s intense portrayal of Cal is riveting, and counterbalanced by David Harbour’s quirky and humorous interpretation of Tim.  Together they create a dynamic lense for the audience to get a glimpse into the underlying truth of their relationship.  Paul Wesley gives a stark and honest performance as Flynt.  His demeanor and pacing gives the play a sense of calm that allows the action to smoothly move from moment to moment.  These are three strong actors who skillfully work together to viscerally connect the audience to the struggle of their characters and engage them in the journey of the play.

Mr. Hoffman’s writing is realistic, straightforward, and succinct.  His characters are genuine and earnest.  He is definitely a playwright to be followed.  Cal in Cam runs at Rattlestick Playwrights Theater in the West Village through June 12.

Domenick Danza